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Full text of "The Canadian church harmonist; a collection of sacred music, consisting of a choice selection of psalm and hymn tunes, anthems, introits, sentences, &c., from the works of Handel, Haydn, Mozart, Fawcett, Leach, Clark, Jackson, Mason and other celebrated composers"

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PUBLISHED AT THE 

iSLEYAK BOCK BOO 
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KING STREET EAST 

TORONTO, 0. 



R&505-V5. 




Library 

of the 

University of Toronto 



hj . ■' xwiW, 



THE CANADIAN 



€ g f? < ¥ r i 1f3ff> 3d) ■/$ 3G3P 
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A COLLECTION OF SACKED MUSIC, 

CONSISTING OF A CHOICE SELECTION OF 

PSALM AND HYMN TUNES, ANTHEMS, INTROITS, SENTENCES, 



&c, 



FROM THE WORKS OF 



iandc-1, IJiaDcIiT, Jjjfarf, (Jfaineft, Scarft, Clarft, Jiuftson, Jttason, and other (Eefebrafod (Komuosers. 

CAREFULLY SELECTED AND COMPILED 

BY J± COMMITTEE. 



'Venite exultemus Domino."— Psalm xcv. 



-•4r-*^+^- 



Toronto 
PUBLISHED BY SAMUEL KOSE, WESLEYAN LOOK ROOM, 

2STO- 80 KriSTG STREET E^ST. 



PREFACE. 



The '' Sacred Harmony," with its admirable Supplement, has done good service to the Churches of Canada ; but, for obvious reasons, has 
been found inadequate fully to meet the wants of the Church and the public generally. Desirous of supplying this want, and furnishing a complete 
Sacred Music Book, to be used by all the Church choirs and congregations under its care, the late Conference appointed a Committee, consisting 
of the Rev. Dr Green, President, Rev. Dr. Wood, Ex-President, and Rev. Dr. Jeffers, Editor, with full power to employ competent persons 
to compile such a work. The Committee, after addiug several good and popular musicians to their number, applied to the principal choirs in the 
Province to aid them in selecting such tunes, from approved authors, as they might wish to have incorporated in the new book. In responding to 
this call, several parties have rendered valuable assistance, to whom the Committee would tender their grateful acknowledgements. 

The labor of compiling has principally devolved upon the Rev. J. A. Williams, Rev. N. Burwash, B.A., and J. B. Boustead, R. H. Savage 
and C. W. Coates, Esqrs., who have been, from their youth, engaged in singing our Church Psalmody ; and who, by their ability and perse- 
vering industry in bringing the work to maturity, have laid the Committee under lasting obligations, and they hereby tender to these gentlemen 
their cordial and sincere thanks. 

The Committee have now the pleasure of presenting to the Church and public, a collection of Sacred Tunes and Anthems which, it is believed, 
will be found second to none now in use, either for purity of style or richness of harmony. 

It has not been so much their purpose to present new music to the public as to give anew to the world many pieces hallowed by long use in 
the sanctuaries of the family and the Church, and endeared to myriads by their power to please, and warm the heart to praise. 

Some of the pieces will, doubtless, be considered difficult, and will require a little more than ordinary perseverance to master them ; but they 
are worth the trouble. Try them ; and persevere until they are learned. They will bear singing. They are not of the wear-out kind. Many of 
them have been devoutly and harmoniously sung by our forefathers. 

An effort has been made to correct an evil (loudly and justly complained of ), namely, the alteration, by musical meddlers, of many of our old, 
well-known tunes ; in consequence of which the majority of worshippers in the congregation are compelled to be silent, while they have as good a 
right as the choir to sing the praises of God. 

Much that is called " Church Music," at the present day, is distinguished by the regularity of its cadences and the chime of its simple harmo- 
ny ; but it possesses no power to lay hold of our moral nature, or to inspire us to " sing with the spirit and the understanding also." An attempt 
has been made to exclude everything of a tame, monotonous, imbecile character; and to embody grave, touching, and enrapturing tunes, to enkindle 
devotion, and cause the spirit of the Christian to glow with piety. 

" Let the people praise thee, O God ; 
Toronto, January 1?fi4. Let all the people praise thee." — Psalm Ixvii: 3. 



INTRODUCTION TO THE SCIENCE OF MUSIC. 



CHAPTER 1. 

GENERAL DIVISION. 

$ 1. There are three distinctions made in musical sounds ; or musical sounds 
differ from one another in three respects, namely : 
$2. (1) They may be long or short, 

(2) They may be high or low, 

(3) They may be toft or loud. 

$ 3. From the fact that these three distinctions exist in the nature of musical 
sounds, arises the necessity of three principal divisions of the subject, or of three 
different departments, one department being founded on each of the above distinc- 
tions. 

$ 4. (1) That department which is founded on the first distinction is called 
Rhythm, and relates to the length of sounds. 

(2) That department which is founded on the second distinction is called 
M elod>y, and relates to the pitch of sounds. 

(3) That department which is founded on the third distinction is called 
Dynamics, and relates to the ttrength or force of sounds. 

$ 5. General view 

Departments. Subjects. 

Rhythm. Length. 

Melody. Pitch. 

Dynamics. Strength or Force. 

§ 6. Each of these departments requires particular exercises, and should be 
pursued separately, until one department can no longer dispense with the others. 

QUESTIONS. 
How many distinctions are there in musical sounds 7 
What is the first distinction ? Second 7 Third 7 

How many separate departments are there in the elementary principles of 
am sic ?" 

What is the first department called 7 Second 7 Third 7 

On what distinction in the nature of musical sounds is Rhythm founded? 

Melody 7 Dynamics 7 



Distinctions. 
Long or Short. 
Hi-gf or Low. 
Soft or Loud. 



I 



To what in the nature of musical sounds does Rhythm rotate t 
Melody 7 Dynamics 7 



CHAPTER II. 
PART I. RHYTHM : or 
division of time and length OF SOUNDS. 
$ 7. During the performance of a piece of -music, time passes away. 
This must be regularly divided into equal portions. • 

[For illustrations of this subject, see Mason's Manual of Instruction in the Ele- 
ments of Vocal Music, p. 35.] 

§ §. Those portions of time into which music is divided are called Measurjs. 
§ 9. Measures are again divided in parts of measures. 
$ 10. A measure with two parts is called double measure ; 
" " three " triple measure; 

" « FOUR " quadruple measure, 

« «< six •• SEXTUPLE measure. 

§ 11- The parts of measures are marked by a motion of the hand Tfcia t» 
called beating time. 

$ 12. Double time has two motions or beats, namely: Downward beat and 

§ 13. Triple time has three beats, namely: Downward beat, Hither beat, and 

P ™14L. Quadruple time has four beats, namely : Downward beat, Hither be* 
Thither beat, and Upward beat. 

$ 15. Sextuple time has six beats, namely : Downward beat, Downward beat. 
Hither beat, Thither beat, Upward beat, Upward beat- _ 

§ 16. The character used for separating the measures is called a bar, and ■ 
made thus : 

ACCENT. 



§ 17. Double time is accented on the first part of tho 
Triple time is accented on the first part cf the measoia 



INTRODUCTION TO THE SCIENCE OF MUSIC. 



Quadruple time is accented on the first and third parts of a measure. 
Sextuple time is accented on the first and fourth parts of the measure. 

QUESTIONS. 

What is that fact in the nature of musical sounds, from which arises the neces- 
sity of a regular division and marking of the time ? What is the most important 
requisite in all good performances ? Ans. Correct time. 

What is that which is more difficult to acquire than anything else in music ? 
Ans. Correct time. 

What is that in which singers are usually most deficient-? Ans. Time. 

What is that to which those who are learning to sing are usually unwilling to 
attend ? Ans. Time. 

What are those portions of time called into which music is divided ? J 8. 

What are those portions of time, smaller than measures, called ? ft 9. 

How many parts has double measure ? Triple ? Quadruple ? Sextuple ? 

How do we mark the different parts of measures in music ? What is that motion 
of the hand called ? 

How many motions or beats has double measure, or double time? Triple? 
Quadruple ? Sextuple ? 

What is that character called which is used for separating measures ? 
Note. Observe the difference between a bar and a measure. Do not call a measure a bar. 

On which part of the measure is double time accented ? Triple ? Quadruple ? 
Sextuple ? 

CHAPTER III 

SINGING IN CONNECTION WITH BEATING TIME AND ACCENT. 

ft 1§. The teacher gives out a sound to the syllable la (a as in father or in far) 
at a suitable pitch, say, E or F — first line or space, Treble clef, (disregarding the 
octave between male and female voices,) and after repeating it frequently, calling 
the attention of the school to it in various ways, requires those who feel certain 
that they cau make the sound right, to imitate him ; afterward he requires those 
wlio think it probable that they can make it right, to imitate; and, finally, the 
whole. 

ft 19. The pupils are now required to beat and sing one la to each beat in dif- 
ferent kinds of measure. Mind the accent. 

ft 2©. Beat Quadruple time, and sing one la to each beat. 
After tills has been done, the teacher may write on the black board as follows : — 

« , • , r r r r 

He then points and says, — 

The characters I have written represent the sounds we have sung; they are 
called notes. Notes represent the length of sounds. Made in this form, they are 
called Quarter notes, or Quarters (Crotchets.) 

Note. The names Crotchets, Minims, Ac, are given here, although it is strongly recommended 
.o adhere to the more significant terms, Quarteis. Halves, <fcc 



ft 21. A sound that continues as long as four quarters, is a whole sound. Exer- 
cise. The note representing a whole sound is made thus, o and is called a whole 
note. (Semibreve.) 

ft 22. A sound that continues as long as two quarters is called a half sound 
Exercise. 

The note representing a half sound is made thus, p and is called a half note. 
(Minim.) 

ft 23. A sound that continues as long as three quarters is called Three-quarters. 
Exercise. The note representing this sound is a dotted half, thus : q , 

I 
Note. Dotting a note adds one half to its length. 

ft 24. Beat, and sing to each part of the measure, or to each beat, two sounds. 
Exercise 

We now sing eighths ; the note representing an eighth sound is made thus, and 
is called an Eighth note. (Quaver.) ^ 

ft 25. Beat, and sing to each part of the measure, four sounds. Exercise. We 
now sing sixteenths ; the note representing a sixteenth is made thus, and is called 
a Sixteenth. (Semiquaver.) g 

ft 26. The teacher may now exhibit all thn notes at one view, showing their 
relative length, thus : o 



r 



P 

f r r 
zs zjt zj> 

GET CGCf 

ECS ESS 



0000 



ft 27. Thirtyseconds (Demisemiquavers) 
not necessary to exercise on them. 



may also be exhibited, but it is 



ft 2S. Sometimes three notes are sung to one part of a measure, or in the usual 
time of two notes of the same kind. When this is done the figure 3 is placed over 
or under them thus, 3 or J J J and they we culled Triplet* 

Exercise on Triplets. II T 3 

QUESTIONS 

By what characters do we represent the length of sounds t 
How many kinds of notes are there in common use ? Ana. Fiv«. 
What kind of a note is this 5? (writing the note on the board ) 



Vf bat kind of a note is this p 'i this 1 this 



INTRODUCTION TO THE SCIENCE OP MUSIC 

this/8>? this 01 this 01 (64) 






The teacher will question, fuso, as to the comparative length of notes. 
When three notes are sung to one part of the measure, what are they called ? 
How marked ? 

CHAPTER IV. 

VARIETIES OF MEASURE. 

$ 29. There are different varieties of Double, Triple, Quadruple, and Sextuple 
time, obtained by the use of different notes on each part of the measure. Each 
variety of time is designated by figures, expressive of the contents of a measure, 
placed at the beginning of a piece of music. 

§ 30. If the parts of quadruple measure are*expressed by quarters, the measure 
u called four-four measure, and is thus marked : 

Note. The characters -£3" or \D" are °^ en used to denote quadruple and double measure. It 
U, however, recommended to discard the use of them, and substitute numerals in all cases. 

$ 31. If the parts of quadruple measure are expressed by halves, the measure 
is called four-two measure, and is thus marked: 



O O O 



O O O 

r i i 



t P i r i 

§ 32. In the same manner let the teacher illustrate all the varieties of measure 
in mmmon use, as in the following examples : 



Double Measure. 



Triple Measure. 



If 



O O 

i I 



r t 
? p 



if f f 



iee 



K 



» 

uu 



I I 

? \ 

I 



c c 



Sextuple Measure. 

if r ffff 

9 

8 1 i r 

& & i»* *< & *> 



EXAMPLES. 



i r r r r\ ° r 

i o> p I p p o 

if r r ! p r l 

I P o \ o p Ip 



I 

o 

1 I 

o c 



.0 

I I 
o 



p 



o 
o 



UU 



0000 



s ? ? i r r 

it kin 
.es : 

t* 




r rip 



% 33. Different kinds of uotes may also occur in the samn measure, as in the 
following examples: 

0000 I P | 

■MS 



I I 





1 u 



III. 







0000 

U ±3 



i 



« 

OZ.SD 



0000 



? 



r 
p- 



&c. 



QUESTIONS. 

How are different varieties of measure obtained 1 (i 29. 

By what do we designate the different varieties of measure? Ans. By figures. 
What do the figures placed at the beginning of a piece of music express 1 Ana The 
contents of each measure. 



CHAPTER V. 

RESTS. 

§ 34. We are often required in music to count or beat certain parts of a mea- 
sure, or a whole measure, or any number of measures, in silence. This is called 
resting, and the sign for it is called a rest. 

§ 35. Each note has its corresponding rest, which is of equal length with tho 
note it represents. 

§ 36. Example. Whole rest. tm Half rest. ™ Quarter rest, at Eighth rest, as 
Sixteenth rest. J3 

The teacher exhibits the rests upon the board. 
$ 37. Rhythmical exercises with rests. 



QUARTER RESTS. 



%f 

1 1 

If 



r f*\ 

* f m I 

r f I- 



f"f 



r 







r»l* 



vs. I m m 



f f 



i* f f i«r 



I 



f 

pi 

i 

p- 



nil 



INTRODUCTION TO TflF SCIENCE OF MUSIC 



EIGHTH RESTS. 






f\'tJLr\^s^r\tJLf" 



tr-C 



"t m t 







QUESTIONS. 
What is beating in silence tailed ? What is that character called which requires 
as to beat in silence ? How many kinds of rests are there in common use? Are 
those notes which are suecee'ii-il ' v rests to be sung shorter or longer than in other 
circumstances ? 



OHAPIER VI. 
PAR"' II. MELODY. 

THE SCALE. 

§ 38. Musical sounds may be high or low. Hence the necessity of that de- 
partment in music called Meloi»«\ which treats of the pitch of sounds. 

$ 39. At the foundation of Melodv lies a certain series of eight sounds, which 
is called the scale. 

$ 40. The scale may be represented by the following notes ; thus, 



f* 



i* I 



12 34 5 6 78 

T*.ie teacher should write the above on the bnird 

$41. The sounds of the scale are known, or designated, by numerals ; thus we 
•peak of the musical sound one, two, three, &c. 
The teacher should point to the written scale bv way of illustration. 

$ 42. The teachei says, Listen to a sound which I will give you, and which 
we will consider us one. 

$ 43 The teacher now sings one. two, to the syllable la, and requires tho 
pupils to do the same. 

QUESTIONS. 

What is the second distinction made in musical sounds ? What is that depart- 
ment called which is founded upon this distinction ? Of what does Melody treat ? 
What is that series of sounds called which lies at the foundation of Melody ? How 
many sounds are there in the scale 1 How do we designate or speak of the sounds 
of the scale? Ant. By numerals. 



CHAPTER VII. 

STAFF, SYLLABLES, CLEFS, LETTERS, INTERTAL» 

y 44. The scale is written on horizontal lines, and on the spaces between those 
lines Five lines are commonly used for this purpose, which together w'th tho 
spaces, are called a staff. 

EXAMPLE. 



Fifth line. 
Fourth line. 
Third line. 
Second line. 
First line. 



Fourth space. 
Ti-trd space. 
S«,*«>nd space. 
Pnot space. 



$ 45. Each line and space of the staff is called a degree ; thus the stafl' contains 
nine degrees, five lines and four spaces. 

§ 46. If more than nine degrees are wanted, the spaces below ar aboye th« 
staff are used; also additional lines, called added lines. 



Space above. 



-Added line above 



Space below. 



-Added line be'ow 



§ 47. The sound one we will now write upon the first added line bfilow tho 
staff, two upon the space below, three upon the first line, and so on. 



EXAMPLE. 



3=5 



12 
-8 



T f .* * 

$ 4§. In singing, certain syllables are applied to each of the different sounds 
of the scalo. To one is applied the syllable do. (pronounced doe ;) to two, re. 
(ray;) to three, mi, (mee;) to four, fa, (fah, a as in lather;) u> Jive : sol, (sole;i 
to six, la, (lah, a as in father;) to seven, si, (see;) and to eight, do, again. 

The scale is now sung ascending and descending with la, and also with the appro] riare svlla 
bles. 

Note. Those teachers who use seven syllables in solmization will omn section 49, and pass lo 
section 50. 

§ 49. In singing we apply certain syllables to the sounds of the scale, as fo' 
lows: — To one we apply the syllable fa, (pronounced fah, a as in father;) to too 
sol, (sole;) to three, la, (a us in father;) to four, fa; to Jive, sol; to six, la; U 
seven, mi. (mee;) and to cighi, fa, again. 
The scale is now sung both up and down with la. and also with ine appropriate syllables 



INTRODUCTION TO THE SCIENCE OF MUSIC 



{ 50. We bare written the sound one upon the added line below, but it is often 
placed upon the second space. The whole scale is then written thus : — 



-8- 



1S1 
-1- 



Practise as before 

$ 51. The sounds of the scale are also named from the first seven letters of the 
alphabet, namely : A, B, C, D, E. F, and G. 



EXAMPLE I. 



EXAMPLE II. 



^- o * " 

CDEFGABC 



D E 



G A B C 



$ 52. When the scale is written as in the first example above, a character call- 
ed the Treble Clef is used at the beginning of the staff! This is also called the 
G Clef, and fixes G upon the second line of the staff. 

When the scale is written as in the second example above, a character called the 
Base Clef is used at the beginning of the staff. This is also called the F Clef, and 
fixes F upon the fourth hue of the staff. 

EXAMPLE OF THE CLEFS. 



v 53. The distance or step from any one sound in the scale to another is called 

1U INTERVAL. 

§ 54. In the regular ascending and descending scales there are two kinds of 
intervals, namely: whole tones and half tones. 

§ 55. From one to two, and from two to three, are whole tones ; from three to 
four is a half tone ; from four to five, from five to six, and from six to seven, are 
whole tones, and from seven to eight is a half tone. Thus there are five whole 
tones and two semitones in the scale. 

Note. It is very important that the pupils should become thoroughly acquainted with the scale, 
Ui numerals, letters, syllables, and intervals, before proceeding any further. 

QUESTIONS. 
What are those lines and spaces called on which the scale is written 1 
The teacher points and asks, Which line is this 7 Which space is this ? &c. 
What is each line and space of the staff called ? How many degrees does the staff 
contain t When more than nine degrees are wanted, what is used f 

2 



The teacher should now write the scale upon the board both in the Treble and 
in the Base Clef, and point as he asks the following or simmu questions :— To wliicb 
sound of the scale do I now point? The answer should he given by numeral*. 
What syllable is applied to one? to two? &c. What letter is one? two? &c. 
What syllable is C ? D? &c. What numeral is Do ? Re? <fcc. What numeral is 
C 7 D ? &c. What is the distance from any one sound of the scale to another 
called ? Ans. An Interval. How many kinds of intervals are there in the scale ? 
What are they called 7 How many whole tones ? How many half tones 7 What 
is the interval from 1 to 2 7 from 2 to 3 7 from 3 to 4 7 Su: 



CHAPTER VIII. 

OF THE DIFFERENT SOUNDS OF THE SCALK. 

$ 56. Having become familiar with the scale in its regular progression, we must 
now learn to strike each sound separately, or in connection with any other sound. 
In order to do this, we must pay attention to each particular sound. We com 
menee with three in connection with one. 

$ 57. Three. The pupils sing by syllables 1, 2, 3, and repeat three several 
times. After which the teacher should write lessons like the following, and require 
the whole to sine them. 




Hife^lgg 



-0-G- 

5§. Five. The pupils sing I, 2, 3, 4, 5— repeat 5. Sing 1 3 5, 1 5 3, 3 1 5, 
3 5 1, 5 1 3, 5 3 1, &c. The teacher sings similar successions to tb.3 syllable la; 
the pupils determine what they are, and answer by numerals. 
The teacher writes lessons like the following : — 




1, 3, 5, 8. Sing these four 



§ 59. Eight. Sing the scale and prolong 8. 
sounds in the following order : — 

1358 3158 5133 8135 

1385 3185 518J 8153 

1538 3518 5318 8315 

1583 358 1 538 1 835 1 

1835 3815 5813 8513 

1853 3851 5831 8531 
The teacher writes examples with 1 3 5 8 in one and two ptirn 



INTRODUCTION TO THE SCIENCE OF MUS^ 



EXAMPLE in TWO PARTS. 



O-0-0- 



-©--- 



O 0- 



3S1 



•9-H-»-r-r- 



VtWW* 



^ 



7C 



r: 



zzpqt 



t=H= 



In singirg the above and similar lessons, let the male and female voices be formed into separate 
classes, and sing each of the parts alternately. 

§ 60. Seven. Sing the scale and prolong 7. Seven naturally leads to 8, or after 
7 we naturally expect to hear 8. It is perfectly easy to sing 7 in connection with 
8, or immediately succeeding to 8. In order, therefore, to strike 7 correctly, and 
separately, we must think of 8. This will serve as a guide to 7. 

$ 01. The teacher gives out similar lessons to the following: 5 8 7 8, 3 8 7 8, 
1 S 7 8, 1 3 8 7, 3 5 8 7, 1 5 8 7, 1 8 7, 3 8 7, 5 8 7, &c. Also, 1 7, 3 7, 5 7, &c. 
Lessons like the following may be written and sung in one or two parts. 



^ -0-V-0- I III -0-0-\ \ -o- 

i i r i 

i 62 Four. Sing the scale and dwell on 4. Four naturally leads to 3, as 7 
does to I. Three, therefore, is the guide to 4. 

$ 63 The teacher gives out, 1 3 4, 5 3 4, 8 3 4, &c., also 1 4, 5 4, 8 4, &c. 



0- "£: -l ~?~* f2"£~ 




:pp4f=±±£ :: 



$ 61 . Two. One or three will either of them guide to two. 



example. 




.0. 



3=fapzstes|: 



} 65. Six. Sing the scale and prolong 6. Five will guide to 6 

EXAMPLE. 






Note. The teacher will spend more or less time upon the toregoing chapter, according to cir- 
cumstances. It is however quite important ; and if sufficient time be spent upon these exercises, 
the easier will all that follows be acquired. 

QUESTIONS. 
When we have learned the scale in its regular progression, and when we desira 
to learn each sound separately, With what do we commence in connection witn 
one? Ans. Three. Sing one. Sing three. What sound do we take after one 
and three ? Ans. Five. Sing one. Sing three. Sing five. What sound do we 
take next ? Ans. Eight. (Sing as before.) What sound do we take after eight ? 
Ans. Seven. What is the distance from seven to eight? To what does seven 
naturally lead — or what does the ear naturally expect after seven? Ans. Einlit. 
If we would strike seven correctly, what must we think of as a guide to it? 
Ans. Eight. (Practise.) After one, three, five, eight, and seven, what sound do we 
take? Ans. Four. To what does four naturally lead ? Ans. Three. What is the 
distance from three to four? What is the guide to four? (Practise.) After four 
what sound d we take? Ans. Two. (Question and practise.) Alter two what 
sound, &c. Ans. Six. (Question and practise.) 

CHAPTER IX. 

EXTENSION OF THE SCALE AND CLASSIFICATION OF THE DIFFERENT KINDS OF VOICE. 

§ 66. We have thus far become acquainted with the scale of eight sounds ; but, 
generally, every one has a greater compass of voice than is required to sing the 
scale, and can extend it upward above eight ; or downward, below one. 

§ 67. When we sing above eight, we consider eight as one of a new scale 
above; and when we sing below one, we consider one as eight of anew scale, below 

§ 6§. Example of the scale extended above and below. 



do 
1 



/ 6, 

» sol 
4 5 



-JSISL 



V~*1 8 
5 6 

sol la si do 

» b o 



4 5 6 7 8 



QUESTIONS. 

When we sing higher than the scale, what do we consider eight? When we 
•ing lower than the scale, what do we consider one ? What letter is applied to 
one of the upper scale? To two? &c. What syllable? So also question with 
respect to the lower scale. 

§ <>9. The human voice is naturally divided into four classes, namely, lowest 
male voices, or base; highest male voices, or tenor; lowest female voices, or 
alto; highest female voices, or treble. Boys, before their voices change, also 
sing the alto. 



INTRODUCTION TO THE SCIENCE OF MUSIC d 

Here the Alto unite, and the three parts sing together 



i 



221 



a-fi 



S- This is called the middle C. 



-O- 



SE 



SE 



-o- 



Tenor from 



Alto from 



& 



IZ22I 



2E?: 




-©- 



$ 70. Practise the foregoing example as follows. The Base commence with G, 



the lowest sound ; at 



they are joined by the Tenor, and both proceed to- 



gether to -*Z.i- 



On this note the Base stops and the Treble begins The Treble 



Alto, and Tenor go on to ^y, , when the Tenor stops ; the Treole and Alto go 



on ^3 




Here the Alto stops, and the Treble jroes on alone. In descend- 



ing, let the/ »*vera. parts unite on tnat note on which they stopped in ascending, 
and stop on that note on which they commenced in ascending. 

§ 71. The Treble or G Clef is commonly used fcr Tenor and Alto; but when 
used for Tenor it always denotes G an octave, or eigr. notes lower than when used 
for Treble. 

EXAMPLE. 
Tenor. Treble. 





The same sound, or unison, namely: middle C is here represented by the Tenor 
Clef on the third space, and by the Treble Clef on the first added line below. 

§ 72. The teacher should here explain the difference between the male and 
female voices, showing that the latter naturally sing an octave higher than the 
former. In order to prove this, let him give out the middle C as a pitch, 



namely, 



& 



, and require the female voices to imitate him. They will, in 



almost all cases, sing an octave higher, namely, 



, unless they have been 



already taught to distinguish between the two. To make it evident to them that 
they do sing an octave higher, the teacher should require them to dwell upon tho 



aound 




-&- 



, while he,beginningwith ; 



- , sings the whole scale, ascending 



INTRODUCTION TO THE SCIENCE OF MUSIC. 



When he has done this, they will perceive that he now sings the same sound 
with them, or that his voice is in unison with theirs. It is important that this dis- 
tinction should lie clearly and practically understood. 
See " Manual " Aoofindix for the Teacher, chap. 37. 

QUESTIONS. 
Into how many classes is the human voice naturally divided ? What are the 
lowest male voices called? Highest? What are the lowest female voices called ! 
Highest? What part do boys sing? Which Clef is used for Tenor and Alto? 
When the Treble Clef is used for Tenor, does it signify G an octave higher or lower 
than when used for Treble ? What is the natural difference, or interval, between 
male and female voices I 



CHAPTER X. 

CHROMATIC SCALE. 

fi 73. Let trie teacher write the scale on the board, and review what was said 
in chap, vii, by asking questions similar to those found at the end of that chapter. 

In writing the scale, leave room between the whole tone intervals for inserting 
the semitones. 

EXAMPLE. 

.. =5 a. 



* 74. Between any two sounds, a tune distant from each other, as from one to 
two, &c., another sound may be sung. Thus all the whole tones may be divided, 
and a scale be formed of semitones only, called the chromatic scale. 

$ 75. The semitone between any two sounds, a whole tone distant, may be 
obtained either by elevating the lower of the two, or by depressing the upper. 

(S 74». In ascending, the semitones are usually obtained by elevation. The sign 
of elevation is made thus J£, and is called a sharp. A note thus elevated is said to 
be sharped. 

The teacher may now introduce the sharped notes, so as to present the following 
example : — 



-a % o o frs^'fc 7 1 



% 77. In descending, the semitones are usually obtained by depression. The 
man of depression is made thus |j, and is called a Hat. A note thus depressed is 
•aid to be flatted. 



Exhibit the following example, in connection with the other. 



-k g — S-frzT 



-e-b&- 



~g - o Iv ?- 



§ 78. In speaking of the altered notes (sharped <»• flntted) by numerals, we 
always say, sharp one, sharp four, flat six, flat seven. <fcc. j but in speaking of them 
by letters, we say, C sharp, D sharp, E flat, B flat, $uz. 

§ 79. A sharped note naturally leads upward, or after a sharped note the ear 
naturally expects the next note above it ; hence, the note above is always tne guide 
to a sharped note. 

§ 80. A flatted note naturally leads downward ; hence the note below is always 
the guide to a flatted note. 

§ 81. When a note is sharped, the syllable appropriated to it in solmization 
terminates in the vowel sound e — thus Do becomes when sharped, De ; Rae be- 
comes Re ; Fa, Fe, &c. m 

§ 82. When a note is flatted, the syllable appropriated to it terminates in the 
vowel sound a (as mfate) — thus, Do becomes Da; Si Sa; La (lah) Lay, &c. 

fl Hit. When a sharped or flatted note is to be restored to its natural sound, the 
following character H, called a natural, is placed before it, A natural takes away 
the torce of a flat or sharp. 

QUESTIONS. 

Which of the intervals of the natural scale (Diatonic) may be divided ? 4ns. The 
wttole tones. What is that scale called which is formed wholly of semii >nes ? In 
how many way6 may the semitones be obtained ? In ascending how do we obtain 
the semitones ? What is the sign of elevation called ? In descending, how are the 
semitones obtained ? What is the sign of depression called ? Does a sharped note 
lead upward or downward ? What note is the guide to a sharped note ? What is 
the guide to sharp four ? 6liarp two ? &c. Does a flatted now lead upward or 
downward ? What note is the guide to a flatted note ? What is the guide to flat 
six ? flat three ? &x. When a note is sharped, with what vowel sound does the 
syllable applied to it terminate ? What syllable is applied to sharp four ? sharp 
six? &c. When a note is flatted, with what vowel sound does the syllable appro- 
priated to it terminate ? What syllable is applied to flat three ? flat seven ? &c. 
When a sharped or flatted note is to be restored, what character is used ? What is 
the use of a natural ? 



CHAPTER XT 

TRANSPOSITION OF THE SCALE. 

§ 84. In all our exercises, hitherto, we have taken C as one of the scale, or at 
the key note, or tonic When C is thus taken for one, the scale is said tc be in it* 



INTRODUCTION TO THE SCIENCE OF MUSIC. 



natural position, the natural key being that of C. But any other letter may be 
taken as one of the scale j and when this is done, the scale is said to be transposed. 
Thus, if D be taken as one, the scale is said to be transposed to D, or to be in the 
key of D ; if E be taken as one, the scale is said to be in E, &c. 

\ 85. In the transposition of the 6cale, care must be taken to preserve the rela- 
tive order of the tones and semitones ; that is, from three to four, and from seven 
to eight, must always be semitones, and the rest whole tones, whatever may be 
the key. 

KEY OF G; FIRST TRANSPOSITION BY SHARPS. 
The teacner writes tne scale in C, on the upper staff, on the board, and says : — 
$ 86. We will now transpose the scale to G, or take five of the C scale as one 
of a new scale. 

He writes the scale, beemning with G, on the lower staff, directly under the C scale, and then 
fays : — 

$ 87. We will now proceed to examine the G scale, and see if the semitones 
•re right. 

Note. In order to find out the proper interval from »nc sound to another, in the scale in any 
key, we must examine it by numerals : thus, from one to two must be a whole tone : from two to 
three a whole tone : from three to four a half tone, &c. : but in order to ascertain what is the 
actual interval from one sound to another, we must examine it by letters : thus, from B to D is a 
whole tone, Ac. 

EXAMINATION. 

Q,7ics. What must be the interval from one to two ? Ans. A tone. 

Quel. What is the interval from G to A ? Ans. A lone. 
Pointing at the same time to the letters on the C scale. 

Thus we see the first interval is right. 

Ques. What must the interval be from two to three ? Ant. A tone. 

Ques. What is th« interval from A to B ? Ans. A tone. 
Pointing as before. 

Ques. What must the interval be from three to four ? Ans. A semitone. 

Ques. What is the interval from B to C ? Ans. A semitone. 

Ques. What must the interval be from four to five ? Ans. A tone. 

Ques. What is the interval from C to D ? Ans. A tone. 

Ques. What must the interval be from five to six ? Ans. A tone. 

Ques. What is the interval from D to E ? Ans. A tone. 

Ques. What must the interval be from six to seven 7 Ans. A tone. 

Ques. What is the interval from E to F ? Ans. A semitone. 

The teacher now observes, — Since the interval from six to seven must be a tone, 
and since from E to F the interval is but half a tone, we must sharp F, in order to 

E reserve the proper order of the intervals in the scale of G. He writes a sharp 
efore F, and pointing asks, — 
Ques. What letter is seven now ? Ans. F sharp. 
Nerer allow the pupil to say F foi F sharp or C, for C sharp, <fec. He proceed*. 



Ques. What must be the interval from seven to eignt? Ans. A semitone. 

Ques. What is the interval from Yifc to G? Ans. A semitone. 

§ 88. The teacher observes. In transposing the scale to G, we have found one 
sharp necessary, namely, before F. Instead of writing this sharp before every F 
which may occur in a piece of music in this key, it is placed once for all, at the 
commencement of the piece, on the letter altered. It is then called the signature 
of the key. Thus one sharp, or Y$f is the signature of the kpy of G. When there 
is neither Hat nor sharp in the signature, it is said to be natural : it is then the sig- 
nature to the key of C 

§ 89. A sharp or flat in the signature affects all the notes on the letter on which 
it is placed ; not only those which are written on the same degree of the staff, but 
also those which are written an octave higher or lower. 

§ 90. The scale being now transposed, the numerals and syllables applied to 
it have all changed their places ; but the letters remain as before, with the excep- 
tion that Y$f is substituted for F. 

§ 91. In the transposition of the scale from C to G, it is carried a. fifth higher 
or a fourth lower. Thus, a fifth above is the same tiling as a. fourth below. 

Explain and illustrate 

QUESTIONS. 

When the scale is in its natural position, what letter is one ? 

Where any other letter than C is taken as one, what is said .of the scale ? 
Ans. It is transposed. 

In transposing the scale, of what must we be particularly careful ? Ans. The 
order of the intervals. 

In transposing the scale to G. what sound ib it necessary to alter ? Ans. Four. 
What must we do to it? Ans Sharp it. What does the sharp fourth become in 
the new key ? Ans. Seven 

What is the signature to the key of G ? Ans. Y#. Why is F# necessary in the 
key of G? Ans. To preserve the relative order of the intervals. 

What is the signature to the key of C ? Ans. Natural. 

How much higher is the key of G than that of C ? How much lower is the key 
of G than that of C ? 

Note. Tunes in the key of G, whose rhythmical construction is not too difficult, may now bo 
introduced and practised 

KEY OF D; SECOND TRANSPOSITION BY SHARPS. 

§ 92. The key of D is examined in connection with that of G, in the same man- 
ner as was G with that of C. A new sharp will be found necessary, namely, on C, 
which having been found as before, the teacher removes it to the signature, and 
then presents to the school the key of D with two sharps. 

QUESTIONS. 
In transposing the scale from G to D, what sound must we alter? Ans. Four, 
What must we do with it? Ant. Sharp it. What does th* sharp fourth becotna 



INTRODUCTION TO THE SCIENCE OF MUSIC 



'u the new key ? Ans. Seven. What is the signature to the key of D ? Ans. Two 
sharps. What letters are sharped ? Ans. F and C. Why are these sharps neces- 
sary in the key of D ? Ans. To preserve the proper order of tone3 and semitones 
in the scale. I low much higher is the key of D than that of G ? How much lower ? 
Tunes in the key of D may now be introduced. 

KEY OF A; THIRD TRANSPOSITION BY SHARPS. 

v 93. Examine the key of A with that of D ; and investigate the scale by the 
same process as before. 
Questions, after the same manner as at § 92. 
Introduce tunes in A. 

$ 91. It will be perceived, that if the fifth of any key, natural, or with sharps 
in the signature, be taken as one of a new key, a new sharp must be introduced, 
namely, on the fourth ; which sharp fourth becomes the seventh in the new key. 

KEY OF E; FOURTH TRANSPOSITION BY SHARPS. 

$ 95. Examine the key of E in connection with that of A, and proceed as 
before. 

Questions after the same manner as at Q 92 —Sing tunes in E. 

9 96. It is not necessary to proceed further in the transposition of the scale by 
sharps, as others very seldom occur. 



■CHAPTER XII. 

KKY OF F; FIRST TRANSPOSITION BY FLATS. 

§ 97. In the transposition of the scale, we have hitherto always taken five as 
one of a new key ; we will now take four as such. 

$ 9§. The teacher writes the C scale on the upper staff, and the F scale (with- 
out the signature) below it,' and investigates as before. It will be found that from 
three to four is a whole tone; and a Hat must be introduced on seven, of the C scale 
on B, in order to preserve the relative order of tones and semitones in the new 
key of F. 

$ 99. The teacher may explain in relation to this transposition after the same 
manner as at J 88. 

§ 10©. In the transposition of the scale from C to F, it is carried a fourth higher, 
or a fifth lower) thus a. fourth above is the same as affth below. 

QUESTIONS. 
In transposing the scale from C to F, what sound must we alter? Ans. Seven. 
What must we do with seven 'I Ans. Fiat it. What does the flat seventh become 
in the new key? Ans. Four. What letter is seven in the key of C ? Ans. B. 
What letter is four in the kjey nf V ! Ans. B.D. What is the signature to the key 
ofF? Ant. One Hit What letter is flatted? Ans. B. Why is BD necessary in 



the key of F ? How much higher is the key of F than that of C I How much 
lower? 
Tunes in F may be introduced. * 

KEY OF B\), SECOND TRANSPOSITION BY FLAT! 

§ 101. The fourth from F (BD) is taken as one, and the scale investigated aa 
before. They will find that E, the sevenih in the key of F, must be Hatted. 
Questions as at I) 100.— Sing tunes in BD- 

KEY OF F.D; THIRD TRANSPOSITION BY FLATS. 

§ 102. In examining the scale in ED, it will lie found necessary to flat A. 

Questions after the same manner as at (/ 100. 

§ 103. If the fourth of any key (natural, or with Hats in the signature) be taken 
as one of a new key, a new Hat must be introduced, namely, on the seventh ; which 
flat seventh becomes four in the new key. 
Introduce tunes in BD- 

KEY OF Ap; FOURTH TRANSPOSITION BY FLATS. 

§ 104. In examining the scale in Ap, it will be found necessary to Hat D. 

Questions after the same manner as at <i 100. — Sing in AD. 

§ 105. Further transposition by Hats is unnecessary. Others, however, may 
be exhibited and explained, if the teacher thinks proper. 
For further remarks and ;..ustiatlons, see " Manual." 



CHAPTER XIII. 

MODULATION INTO RELATIVE KEYS. 

§ 106. Preparatory exercises. 

1. The scholars sing the C scale; then assume tioo as one of another scale, which 
they also sing through ; then three ; then four, and so on. A scale is formed upon 
each, as far as the voice extends. 

2. They take eight, seven, six, &c, as five, and complete the scale, ascending and 
descending. 

3. Similar exercises should be practised, until the scholars can immediately take 
any sound which is given them, and consider it as any other sound, and from that 
form the scale, upward or downward. 

§ 107. When, in a piece of music, the scale is transposed, such change is called 

MODULATION. 

FIRST MODULATION, OR FROM ONE TO FITS. 

From C to G. 

§ 108. What is the signature to the key of C? 
What is the signature to the key of GT 



INTRODUCTION TO THE SCIENCE OF MUSIC 



What is F in the G scale? Ans. Seven. 
To what does F# lead ? Ans. To G. 

$ 109. F# is the note op modulation from the key of C to that of G. The 
•harp fourth is always tne note of modulation from any key to its fifth. 

Questions. What is the note of modulation from C to G 7 From D to A ? From 
A to E 7 From F to C ? &c. 

$ 1 10. When modulation occurs, the melodic relations of the sounds, and often 
the syllables, applied in solmization, must be changed according to the new key. 

$ 111. Wheu a modulation occurs from C to G, C appears no longer as one; 
but, according to the G scale, as four; A as two; D as five, &c. 




$ 112. H'jt.i 1 If several notes, on the same degree, occur before the note 
of modulation, the change is most conveniently made on the last. 

See the ihove example, where the second note on D is changed to five. 

y 1 >3. Rule 2. If »o two notes, on the same degree, precede the note of 
modulation, the change should be made on a note somewhat longer than the rest. 



^ 



-©- 



25 



^—0 

6 



#t 



-o h- - 



5, 
sol 



y 114. Rule 3. If long notes are not to be found on which the change can be 
made, we must quickly regard the second or third note, before the note of modula- 
tion, as belonging to the coming key. 



EXAMPLE. 




i^f 



m. 



■ 6 ol 



Notk. The teacher will be able to point out numerous examples, as they occur in almost every 
Bee of music. ™ ~ 



piece of inunc 



SECOND MODULATION, OH FROM C T*> F. 

y 115. What is the signature to the key tf C 1 
What is the signature to the key of F? 

What is B t> in the F scale 7 Ans. Four 
y 116. BD is the note of modulation, from the key of C lo that of F. The 
flat seventh is always the note of modulation from any kev to its fourth. 

Questions. What is the note of modulation from C to b 7 From F to BP? 
From G to C ? &c. 

§ 117. See y 110. 

y 11§. When a modulation occurs from C to F, C appears no longer as one; 
but, according to the F scale, as five, D as six, Sua. 

example. 



3 



:5± 



~*=¥=%+- 



=t 



at 



±=zt. 



8 



5 

sol 



£ 



y 119. Rules the same as at y 112, 113, 114. 

% 120. These two modulations are the most common. It is not thought neces- 
sary to speak of others in this place. Further remarK.8 may be found in the 
" Manual." 

§ 121. In such changes as usually occur in Psalmody, extending only to on« 
or two measures, it is not advisable to make any change of syllables, but merely 10 
alter the termination of the note of modulation ; but in longer pieceB, or where the 
change is continued for some time, not only that part which has the note of modu- 
lation, but also the other parts, should adopt the solmization of the new key. 

QUESTIONS. 

When the scale is transposed, what is such change called 7 What is the most 
common modulation 1 Arts. From one to five. What the next 7 Ans. From one 
to four. 

When modulations occur, what must be done with the syllables 7 Ans. Changed 
according to the new key. 



CHAPTER XIV. 

MINOR SCALE 

§ 122. Hitherto we have sung semitones between three and four, and between 
seven and eight, and this is the order in which they must always occur in the natu 
ral scale. But there is another scale, not natural, but artificial, in which the seail 
tones arc ditferontly placed. 



INTRODUCTION TO THE SCIENCE OF MUSIC. 



Ascending. 



EXAMPLE. 

Minor Scale. 



Descending. 



3. 



■bo- 



gEgEto 



=22-^©: 



§ 123. The teacher should sing the Minor scale slowly, carefully, and repeat- 
ediy, until the pupils can tell him what sound he flats in ascending, and what 
sounds he flats in descending ; and where the semitones occur. 

§ 124. In ascending (Minor scale) the third is flatted; in descending, the 
seventh, sixth, and third are flatted. 

§ 125. In ascending (Minor scale) the semitones occur between two and three, 
and seven and eight ; in descending, between six and five, and three and two. 

§ 126. This scale is called the minor scale or mode, (by the Germans moll, 
soft,) because it moves on more softly and gently than the other which we have 
hitherto practised, and which is called the major scale, or mode, (by the Germans, 
dur, hard.) 

See " Manual," 4 449. 

$ 127. Instead of marking the flatted sounds of the Minor C scale, one by one, 
with flats, as in the above example, we mark them in the signature. 



>JUl_ 



ip?zS?: 



•" ■ -9- v v -O- 

$ 128. As six and seven are not flatted in ascending, we are now obliged to 
alter these two sounds from the signature, by the sign of elevation; in this case a 
natural. 

§ 129. It will be perceived that Eb Major has the same signature as C Minor, 
namely, three flats. 

§ 130. Every Minor scale has the same signaturo as the Major scale, which is 
based on its third. Hence these two are said to be related. C Minor is the rela- 
tive Minor of ED Major; and ED Major is the relative Major of C Minor. 

$ 131. The letters and syllables are the same in the relative modes, but the 

numerals are changed. Thus, the syllable Do is applied to Eb in both cases, 
although it is one in the Major, and three in the Minor mode. 

$ 132. If the signature is three flats, the music may be either in ED Major, or 
C Minor In which of the two it is, however, can only be known by an examina- 



I tion of the scale or chords, or by the ear, which, w'len practised, immediately dis- 
tinguishes the one from the oilier. 

§ 133. If the Minor scale is practically understood in C, it will be easy to trans- 
pose it to any of the other letters. Some of the most common Minor modes should 
be written upon the board, examined, and practised. 

QUESTIONS. 

In the ascending Minor scale, what souwl is flatted r 

In descending ? 

In the ascending Minor scale, where is the first semitone T 

Ans. Between two and three. Where the stnond ? 

In descending, where is the first semitone found ? 

Ans. Between six and five. Where the second ? 

What two sounds of the ascending Minor scale must be altered from the signa- 
ture 1 Ans. Six and seven. What must be done to their* ? Ans. They must each 
be raised a semitone. 

What is the relative Major scale to C Miror ? To D ? To E 1 &c. 

What is the relative Minor scale to C Major ? To G ? To D ? Sre. 

What syllable is applied to one in the Major mode ? In the Minor ? 6fcc. 

Which mode is the most common, Major or Minor ? Ans. Major. 

Which is the most brilliant or lively ? Which is the most mournful ? N^hich bes-t 
expresses joy or praise ? Which best expresses sorrow, grief, penitence ? 



CHAPTER XV. 

INTERVALS. 

§ 134. We have hitherto spoken of the intervals of a tone and semitone, but 
there are also other intervals, namely, seconds, thirds, fourths, fifths, &c. 

examples. 

1. Unison. 



Note. Althougn tne unison is not strictly an inteival, yet, in the theory of music, it is spoken 
of and treated as one. 

2. Seconds. 



3i^& 



*—*—* 



J*—* 



wm 



INTRODUCTION TO THE SCIENCE OF MUSIC 



3. Tliirds. 



4. Fourths. 



S. f7/Ms. 




6. Si*/**. 

j= — I- 1rferraP?i=F3 






-#- -^ ■ g- 



^—- #- 



*-*-H 



^^ 



-^- 



7. Sevenths. 

^ m \ 0- 




+e 



8. Eighths, or Octaves. 






N. B. Practise all the above. 

Questions. What is the interval from one to two called ? From two to three ? &c. 
From one to three? &c. From one to four? &c., &c. 

$ 135. Major and Minor intervals. 

Seconds. A second, including a semitone, is called a minor second: a 6econd, 
including a whole tone, is called a major second. 

Note. The teacher vrntes the scale »n the board, points, and questions. 



What is the second from C to D ? Ans. Major. From D to E ? An*. Majo* 
From E to F ? Ans. Minor, &c. 

Thirds. An interval, including a tone and a semitone, is called a minor tnird : 
one including two tones is called a major third. Questions as before. 

Fourths. An interval, including two tones and a semitone, is caTed a perfect 
fourth : one including three tonesja sharp fourth. Questions as before. 

Fifths An interval, including two tones and two semitones, is called a flat fifth: 
one including three tones and a semitone, a perfect fifth. Illustrations and ques- 
tions. 

Sixths. An interval of three tones and two semitones is called a minor sixth : one 
of four tones and a semitone, a major sixth. Questions, &c. 

Sevenths. An interval olfonr tones and two semitones is called a flat or minor 
seventh: one oifive tones and a semitone, a sharp or major seventh. Questions. 

Octaves. All the octaves are equal, including_/S#g tones and two semitones. 

§ 136. If the lower note of any Minor interval be depressed, or the upper one 
elevated, the interval becomes Major. 

§ 137. If the lower note of any Major interval be elevated, or the upper one 
depressed, the interval becomes Minor- 

\ 13§. If the lower note of any Major interval be depressed, or the upper note 
elevated, there arises a superfluous or extreme sharp interval. 

§ 139. If the lower note of any Minor interval be e' >"ated, or the upper note 
depressed, there arises a diminished, or extreme flat in. "<<1. 

For further examples and illustrations, see " Manual " 



CHAPTER XVI 

PASSING AND SYNCOPATED NOTES, AND MISCELLANEOUS CHARACTERS. 

§ 140. Passing notes. When notes are introduced which do not properly 
belong to the harmony or chord, they are called passing notes. 

§ 141. When passing notes follow the essential notes, they are callod after 

NOTES. 

§ 142. When passing notes precede the essential notes, they are called appo- 
giatures. 

EXAMPLE. 

After notes. Appogiatures 

* J s 



^=P^3 



Performed 




xviV 



INTRODUCTION It) THE SCIENCE OF MUSIC 



9 143. Syncopated notes. When n note commences on an unaccented, and is 
continued on an accented part of a measure, it is called a syncopated note. 

$ 144. Pause. When a note is to be prolonged beyond its usual time, a cha- 
racter called a pause is placed over or under it. Example : *. 

$ 145. Staccato. When singing is performed in a short, pointed, and articulate 
manner, it is said to be staccato. 



Written. 



Performed. 



:(=t 



fe 



l—W—W- ::^=lzpz^=*=^=^z^=T=p=^ 



-t- 



Ep 



m 



$ 146. Legato. When singing is performed in a smooth, 
said to be Legato 



gliding manner, it is 



Note. The distinction between Staccato and Legato is very important, and should be well and 
practically understood. 

§ 147. Tie. A character called a Tie is used to show how many notes are to 
be sung to one syllable. The same character i6 often used to denote Legato style. 
Example : ' \ 

§ 148. Repeal. Dots across the staff require the repetition of certain parts of 
the piece. 



Question on this chapter. 



CHAPTER XVII 
PART III. DYNAMICS. 

$ 149. Musical sounds may be either soft or loud. From this fact, in the 
nature of musical sounds, arises the necessity of the third department in the ele- 
ments of music, called dynamics, which treats of the force or strength of sounds. 

$ 150. A sound, be it loud or soft, must still be of a good quality. It must 
never be so soft or so loud, as to injure the quality of tone. 

DYNAMIC DEGREES. 

$ 151. Mezzo. A sound produced by the ordinary exertion of the organs is a 
medium or middle sound : it is called mezzo, and is marked M. 

$ 152. Piano. A sound produced by some restraint of the organs is a soft 
aound; it is called P'Ano, (pronounced pcano,) and is marked P. 



§ 153. Forte. A sound produced by a strong or full exertion of the organs la 
a loud sound ; it is called forte, and is marked F. 

$ 154. Mezzo, Piano, and Forte are Italian words, which, by long usage, haye 
become technical terms in music, and are used by all nations. 

$ 155. Applications of the three principal Dynamic degrees to the scale. 



EXAMPLE. 

F. 



^zfz 



¥ r r | P -» 



1 



=t 



*-*-; 



-r-p 



I 



§ 156. Pianissimo. If a sound is produced by a very small, but careful exer- 
tion of the organs, softer than piano, yet so loud as to be a good audible tone, it is 
called pianissimo, (pronounced peanissimo,) and is marked PP. 

§ 157. Fortissimo. If a sound is delivered with a still greater exertion of the 
organs than is required for Forte, but not so loud as to degenerate into a scream. 
it is called fortissimo, and is marked FF. 

§ 15§. The five Dynamic degrees, applied to the scale : 



FF. FF. 



P. PP. 



.0-9 i i a _^_ 



See further exercises, &c, in " Manual.' 



CHAPTER XVIII 

DYNAMIC T0NKS. 

§ 159. Organ tone. A tone which is commenced, continued, and ended with 
an equal degree of force, is called an organ tone. 

Note. The organ tone should be exclusively practised in the first stages of a musical educa- 
tion. It is difficult to acquire a firm, steady, equal tone. Until tliis is acquired the pupil should 
not attempt any other Dynamic tone. 

§ 160. Crescendo. A tone commencing soft and increasing to loud is called 
a crescendo tone ; and is marked cres. or _. — ^. 

§ 161. Diminuendo. A tone commencing loud and gradually diminishing to 
soft is called a diminuendo tone - , and is marked dim. or ~ === ^. 

$ 162. Swell. A tone consisting of a union of Crescendo and Diminuendo is 
called a swelling tone, or a swell. It is marked -«— zj. — 

§ 163. Crescendo, Diminuendo, and Swell, are not only applied to individual 
tone*, but also to passages in music. 

Sing the scale in Crescendo, Diminuendo, qnd Swelling tone*. 



INTRODUCTION TO THE SCIENCE OF MUSIC 



{ 164. Pressure tone. If a singio short sound is sung with a very sudden, 
forcible Crescendo, or Swell, there arises the pressure tone — marked <; or <>. 
It is often applied to syncopated passages. 

y 165. Explosive tone. A single short sound which is struck suddenly, with 
very great force, and instantly diminished, is called an explosive tone. It is 
marked >, or iz. (forzando,) or sf. (sforzando.) 
Practise the explosive tone to the syllable Hah, as in the following example. 

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The practice of this tone is calculated to give great power and strength to the voice. 

§ 166. Expression. The proper application of Dynamics to music constitutes 
essentially that which is usually called expression. Dynamics should be much 
practised ; no other exercises have such a powerful tendency to bring out, strengthen, 
and improve the voice. 

See " Manual," for more particular instructions. 

CHAPTER XIX. 

expression of words, in connection with sounds, and miscellaneous directions. 

§ 167. Besides the Dynamic designations of the last chapter, vocal expression 
depends essentially on Articulation, Accent, Pause, and Emphasis. 

§ 168- Vowel sounds. The vowel sounds only should be sustained in singing. 
It is on these alone that the voice should dwell. They should be delivered with 
accuracy, and carefully prolonged, without being changed. To insure this, the 
organs of sound should be immovably fixed from the beginning to the end of a 
sound; not the least change should be allowed in the position of the lips, teeth, 
tongue, or throat ; nor indeed of the head or body. 

$ 169. Consonants. Articulation is almost entirely dependant on the conso- 
nants. These should, therefore, receive veiy particular attention, and be delivered 
or articulated very quickly, smartly, forcibly, distinctly, and with the greatest pre- 
cision. The neglect of a careful utterance of the consonants is a principal cause of 
indistinctness in singing. 

§ 170. Accent. Accent is as important in singing as in speaking. If the poe- 
try be regular in its construction, and is properly adapted to the music, the accentu- 
ation of the two will correspond. If otherwise, that of the former must, in general, 
be attended to. and the musical accent made to conform to it. 

y 171. Pause. Pauses, both grammatical and rhetorical, are also essential to 
good singing. In general, when necessary, they must be obtained, not by a pause 



in the time, the computation of which should be regularly carried on, but by short- 
ening the preceding note; as in the following example, namely: — 
Written. To be sung. 



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Joy to the world — the Lord is come ! Joy to the world— the Lord is come ! 

y 172. Emphasis. Emphatic words should be given with a greater or less de- 
gree of the explosive tone, (sf.,) without reference to rhythmical accent. In com- 
mon psalmody its application is often very difficult, from a want of a proper adapta- 
tion of the poetry to the music, or appropriateness of one to the other. The effect 
of Emphasis may often be increased by a momentary pause. 

y 173. Opening of the mouth. The mouth should, in general, be so far opened 
as to admit the end of the fore finger freely between the teeth. Singers do not 
usually open their mouths sufficiently wide to give a free and full passage to the 
sound. 

y 174. Taking breath. (1) In taking breath make as little noise as possible. 

(2) Let it be done quickly, and without any change in the position of the mouth. 

(3) Never breathe between the different syllables of the same word. 

(4) When several notes come together, to one syllable, do not breathe between 
them, except in long running passages, or divisions where it cannot be avoided. 

(5) Words which are intimately connected in sense, as the article and its noun, 
or the preposition and its noun, should not be separated by taking breath. 

(6) The practice of breathing at a particular part of the measure, or of rhythmi- 
cal breathing, should be avoided. 

(7) Take breath no more frequently than is necessary. 

(8) Exercises on the explosive tone (fz.) will greatly assist in acquiring the art 
of taking breath. 

y 175. Quality of tone. The most essential qualities of a good tone are 
purity, fulness, firmness, and certainty. 

(1) A tone is pure, or clear, when no extraneous sound mixes with it; impi re, 
when something like a hissing, screaming, or huskiness is heard. Impurity is 
usually produced by an improper position of the mouth. 

(2) A tone is full, when it is delivered in a free and unconstrained use of the 
appropriate organs of sound. A tone is faint, when it is produced by a careless or 
negligent use of the organs. 

(3 and 4) A tone is firm and certain, which, being correctly given, is beld 
steadily, without change ; and which seems to be perfectly under the control of the 
performer. Hence the following are faults, namely : — 

( 1 ) Striking below the proper sound and sliding up to it, as from five to eight, &c. 

(2) A wavering, or trembling of the voice. 

(3) A change just at the close of the tone, produced by a careless relaxation A 
the organs, which should always be held firm and immovable in their proper po*i 
tiou until the sound ceases 



EXPLANATION OF MUSICAL TERMS 



Adagio [or Ado.) signifies the slowest time. 

A ■!■ libitum, at pleasure. 

4 ffctiuoso, in a style of execution adapted to express affec- 
tion, tenderness, supplication, and deep emotion. 

Allegro, a brisk and sprightly movement. 

Allegretto, less quick than AJlegro. 

Alto, Counter, or high Tenor. 

Amoroso, in a soft and delicate style. 

Andante, with distinctness. As a mark of time, it implies 
a medium between the Adagio and Allegro movements. 

Andantino, quicker than Andante. 

Anthem, a musical composition set to sacred prose. 

A tempo, in time. 

Bass, the lowest part in harmony. 

Bis, this term denotes a repetition of a passage in music. 

Cantabile, elegant, graceful, melodious. 

Canto, song ; or, in choral compositions, the leading melody. 

Chorus, a composition or passage designed for a full choir. 

Chromatic, a term given to accidental semitones. 

Con furia, with boldness. 

Crescendo, Crcs., or -=cc;, with an increasing sound. 

Con sfirito, with spirit. 

Da Capo, or D. C, close with the first strain. 

Diminuendo, Dim., or ;;==-! with a decreasing sourd. 

Dirge, a piece composed for funeral occasions. 

Divoto, in a solemn and devout manner. 

Duello, or Duel, rr. jsic consisting of two parts. 

Dolce, sweetness, softness, gentleness, &c. 

Eiprcssivo, wilh expression 

Forte, strong and full. 

Fortissimo, very bud. 

Fugue, or Fuge, a piece in which one or more of the parts 
lead and the rest follow m dilfarent intervals of tune 



Forzando, [or fz.~\ the notes over which it is placed are to 

be boldly struck with strong emphasis. 
Giusto, in a'n equal, steady, and just time. 
Grave, Gravcmente, deep emotion. 
Grazioso, graceful ; a smooth and gentle style of execution, 

approaching to piano. 
Harmony, an agreeable combination of musical sounds, or 

different melodies, performed at the same time. 
Interlude, an instrumental passage introduced between two 

vocal passages. 
Interval, the distance between any two sounds. 
Largo, somewhat quicker than Grave. 
Larghetto, not so slow as Largo. 
Legato, signifies that the notes of the passage are to be ner- 

formed in a close, smooth, and gliding manner. 
Lento, Lentcmente, slow. 
Melody, an agreeable succession of sounds. 
Mezza voce, with a medium fulness of tone. 
Mezza, half, middle, mean. 
Moderalo, between Andante and Allegro. 
Oratorio, a species of musical drama, consisting of airs, re- 
citatives, duets, trios, choruses, &c. 
Ovei ture, in dramatic music, is an instrumental strain, which 

serves as an introduction. 
Orchestra, the place or band of musical performances. 
Pastorale, a composition generally written in measure of 

6-4 or 6-8, the style of which is soothing tender, and 

delicate. 
Piano, or Pia, soft. 

Pianissimo, Pianiss., or PP., very soft. 
Pomposo, grand, dignified. 
Presto, quick. 
Prestissimo, very quick. 



Ouartetto, a composition consisting of parts, each of which 
occasionally tanes the leading melody. 

Quintetto, music composed in five parts, each of which occa- 
sionally takes the leading melody. 

Recitative, a sort of stvle resembling speaking. 

Rippienno, full. 

Sempre, throughout ; as sempre piano, solt throughout. 

Soprano, the treble or higher voice part. 

Sostenulo, sustaining the sounds to the utmost of then 
nominal length. 

Staccato, the opposite to Legato ; requiring a short, ««ticu- 
late, and distinct style of performance. 

Siciliano, a composition written in measure of 6-4 or 6-8, 
to be performed in a slow and graceful manner. 

Soavc, agreeable, pleasing 

Soto Voce Dolce, with a sweetness of tone. 

Spirituoso, with spirit. 

Solo, a composition designed for a single voice or instrument. 
Vocal solos, duets, &c. in modern music, are usually ac- 
companied with instruments. 

Suhito, quick. 

Symphony, a passage to be executed by instruments, while 
the vocal performers are silent. 

Tempo, time. 

Tasln Solo, denotes that the movement should be perf onued 
with no other chords than unisons and octavet. 

Trio, a composition for three voices. 

Tulti, all, all together. 

Veloce, quick. 

Vigoroso, with energy. 

Verse, one voice to a pait. 

Vivace, in a brisk and livel) 

Volti. turn over. 



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HYMN 57. 



Job. L. M. 



W. ARNOLD. 



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32 



HYMN 46 






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Daniel. L. M. 



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36 



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HYMN 181. 



Melbourne. L. M. 



Hev. D. E. FORD. 



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Dresden. L. M. 



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HYMN 757. 



Morning Hymn. L. M. 



F. BARTHELEMON. 



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Evening Hymn. L. M. 



TALLIS. 



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HYMN 714. 



Daventry. L. M. 



LAMPORT. 



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Tranquility. L. M. 



W. MATTHEWS. 



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Canada. L. $L 



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Warrington. L. M. 



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57 




With glory clad, with strength array'd, The Lord that o'er all nature reigns, The world's foundations strongly laid, And the vast fabric still sustains, 

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igdol. L. M. 



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Peru. L. M. 



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Hamburg: L. M. 



From a G.'egoHan Chnnt hv /■» o 

Dr. LOWELL MASON." QO 



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Perseverance. L. M. 



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Windham. L. M. 



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HYMN 293. 



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Devotion. L. 



FAWCETT. 



73 



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HT1IN 17. 



Newington Greene. L. M 




Pass a few swiftly - fleeting years, Ami all that now in bo -dies live Shall quit, like me, the vale of tears, Their risliteous sentence to receive. 




HYMN 659. 



Gethsemane. L. M. 



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Uffingham. L. M. 



JER. CLARK. 



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Dundee. C. M. 



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JOHN MILTON. 
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Messiah. C. M. 



Adapted from HANDEL'S Messiah. 




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Wilts. C. M. 



Sir G. SMART. 



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Charmouth. C. M. 



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Revelation. C. M. 



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HYMN 117. 



Havana. C. M. 



DR. HARBINGTON. 




God is in this and ev - ery place ; But, 0, how dark and void To me !— "Tis one great wil - der-ness, This earth without my God. 



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Thee we a-dore, e - ter - nal Name ! And hum - bly own to thee How fee - ble is our mor - tal frame — What dying worms we be! 




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London. C. M. 



DR. CROFT. 




Join, all ye ransom'd sons of grace, The ho - ly joy pro - long, And shout to the Re-deem- er's praise A sol- emu mid-night song. 



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HYMN 660. 



Martyrdom. C. M. 



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97 



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How sad our state by nature is! Our sin, how deep its stains! And Sa- tan binds our captive souls Past in his sla-vish chains. 



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Harmonia. C. M. 



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to-day As yes -ter- day the same, Pre - sent to heal, in me dis -play The vir-tne of thy Name. 



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Lydia. C. 




Sing to the Great Jehovah's praise ; All praise to him belongs : Who kindly lengthens out our days, Demands our choicest songs, Demands our choicest songs. 



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Nehemiah. C. $L 



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All praise to our re - deem - ing Lord, Who joins us by his grace, Who joins us by his grace ; 



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Kendall. C. M. 



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Condescension. C. M. 



ISAAC TUCKER 




Je - sul Redeemer, Saviour, Lord, The wea-ry sinner's friend; Come to my help, pronounce the word, And bid my troubles end. 



106 



AY MX 208. 



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Happy the souls to Jesus join'd, And saved by grace alone : Walking in all his ways, they find Their heaven on earth begun, Their heaven, &c. 



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HYMN 214. 



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Coronation. C. M. 



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Carr's Lane. C. M. 



S. STANLEY, 

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When all thy mercies, my God, My ris -ing soul sur-veys, Transported with the view, I'm lost In wonder, love, and praise, In wonder, love, and praise. 



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Geneva. C. M. 

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HYMN 169, 



Bedford. C. M. 



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Be-ing of BeiDgs, God of love! To thee our hearts we raise; Thy all - sus - tain - nig power we prove, And gladly sing thy praise 




HYMX 84. 



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HYMN 139. 



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Ashley. C. M. 



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Sal-vation! the joy - ful sound ! What pleasure to our ears! A sovereign balm for every wound, A cordial for our fear: 




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David's Harp. C. M. 



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Gabriel. C. M. 



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To him with joy • ful voi-ces give The glo-ry of his grace . . The glo - ry of his grace, The glo - ry of 



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Talk with us, Lord, thy-self re-veal, While here o'er earth we rove ; Speak to our hearts, and let us feel The kindling of thy love 
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Je - sus Christ is oar Re- deem er, Hal - le - lu-jah, Hal-le la - jah, Hal - le ■ lu • jah, — Praise the Lord. 



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Burford. 0. M. 



PURCELL. 




Woe to the men on earth who dwell, Nor dread th'Almighty's frown; When God doth all his wrath reveal, And shower his judgments down! 



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St. Mary's. C. M. 



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Walsal. C. M. 



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Cranbrook. S. M. 



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at - ing love, Of thy ere - at - ing love. 



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Thatcher. S. M. 



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Wirksworth. S. M. 



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Luther's Hymn. (6 lines 8s.) 



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Lo ! God is here ! let us adore, And own how dreadful is this place, 

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And O in - struct us how to pray! Pour out the sup - pli - ca - ting grace, And stir us up to seek thy face! 

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Homerton. (6 lines 8s.) 



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HYMN 330. 



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Now I have found the ground wherein Sure my soul's an - chor may re- main: The wounds of Je - sus, for my sin 



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Desire. (6 lines 8s.) 

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Ex - paud thy wings, ce • les - tial Dove, And, brood-ing o'er my na - ture's night, Call forth the ray of heav'n - ly Love. 



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Let there in my dark soul be light; And fill th'il - his - tra • ted a - byss With glorious beams of end-less bliss. 



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Thou, Lord, on whom I still de-pend, Shalt keep me faith - ful to the end: I trust thy truth, and love, and power, 



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Charity. (6 lines 8s.) 



STANLEY & DR. WAINWRIGHT. 




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HYMN 374. 



Ledbury. (6 lines 8s.) 



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Je - su, thy bound - less love to me No thought can reach, no tongue de - clare ; knit my thauk - ful heart to thee, 



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for you and mc-1 " Forgive them, Father, forgive: They know not that by me they live!" They know not that by me, kc. 

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HYMN 319. 



Zalmonah. (6 lines 8s.) 



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HYMN 375. 



Whitsuntide. ( 6 lines 8s. ) 



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Sa - viour from sin, I wait to prove That Je - sus is thy heal- ing name; To, lose, when per -feet - ed in love, 



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Whate'er I have, or can, or am: I stay me on thy faith -ful word, " The servant shall be as his Lord." 



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Love. (6 lines 8s.) 



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Myheartis full of Christ, and kmgs Its glorious matter to declare! Ofhim I make my loftier songs, I cannot from his praise forbear; 

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Madrid. (6 lines 8s.) 



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And claim my sta - tion in the skies, Fix'd as the throne which ne'er can move, A pil - lar in thy church a-bove. 



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Zauberflote. (6 lines 8s.) 



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Prison-ers of hope, lift up your heads ; The day of lib • er -ty draws near ; Je - sus, who on the Serpent treads, Shall soon 



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half ap -pear ; The Lord will to his tern- pie come; Prepare your hearts to make him room, Prepare your hearts to make him room 



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Brighton. ( 6 lines 8s. ) 



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Gay's. ( 6 lines 8s. ) 



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Je - su, source of calm re-pose, Thy like nor man nor an-gel knows ; Pair-est among ten thou - sand fair ! 



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E'en those whom death's sad fet - ters. . . bound, Whom thick - est darkness com - pass'd round, Find light and life if thou ap-pear. 
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I'll praise my Maker while I've breath; And when my voice is lost in deatb, Praise shall employ my nobler povv'rs! My days of praise shall ne'er be past, 

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How love - ly are thy tents, O Lord ! Where'er thou choosest to re - cord Thy name, or place thy house of prayer. 



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Be it my oa - ly wisdom here, To serve the Lord with fil - ial fear, With lov-ing grat - i - tude; Su - pe - rior sense may 



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I display, By shunning eve-ry e - vil way, And walking in the good. 



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When shall I find my will - ing heart All ta - - ken up by thee ? I thirst, I faint, I die to prove 



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Praise. (4 8s & 2 6s.) 



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makes me tor some moments feast With Jesus' priests and kings, It gives my ravish'd soul a taste, And makes me for some moments feast With, be. 



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Ac - cept the com - pli - ca - ted wrong Of Shi - mei's hand and Shi - mei's tongue, As kind re - bakes from thee ! 



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Ariel. (4 8s & 2 6s.) 



L. MASON. 



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Vouchsafe the grace we humbly claim, Compose into a thankful frame, And tune thy people's heart, And tune thy peo • pie's heart. 



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O Sa - viour, cast a gra - cious smile! Our gloom-y guilt and sel - fish guile, Aad shy dis - trust re - move: 



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A Fountain of Life and of Grace In Christ, our Redeemer, we see : For ns, who his offers embrace, For all, it is open and free, For all, it is open, and free. 



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Melville. (4 lines 7s.) 



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Seville. ( 8 lines 7s. ) 



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Easter. ( 8 lines 7s. ) 



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Martyn. (8 lines 7s.) 



S. B. MARSH. 



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Damascus. ( 6 lines 7s. ) 



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one thanksgiving join ! Holy, holy, ho - ly Lord, Ho-ly, ho - Iy, ho-ly Lord, Holy, ho- ly, ho - ly Lord, E - ter-nal praise be thine! 




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Josiah. (7s & 6s.) 



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what shall I do my Saviour to praise, So faith - ful and true, So plenteous in grace, So strong to de - li - ver, So 



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Come, let us a - new Our jour-ney pur - sue, Roll round with the year, lloll round with the year, 
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And press to our per - ma - nent place in the skies, And press to our per - ma - nent place in the skies. 

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Rapture. P. M. 



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In the hea - ven - ly Lamb Thrice hap - py I am, And my heart it doth dance at the sound of his name. 



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Liberia. P. M. 



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COLLECT. Lord of all power and might. 



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HYMM ANTHEM. Jerusalem, my glorious home. 



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In Jewry God is known. 



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^Xj^HLAJBETIOJLL UnTDBX TO T-EIE TTTItTES. 



PAGE. 

Aaron 4— 7's 220 

Abingdon CM 118 

Abridge CM 80 

Admah 6— 8's 154 

Admiration L M 63 

Adoration LM 51 

Advent 8's & 7's 212 

Albion 8— 8's 199 

Alfreton LM 27 

Alma 4 — 7's 220 

Amaziah Ts & 6's 253 

Ambleside 4— 7's 227 

Angel's Song L M 43 

Antioch. CM 92 

Anxiety 4— 7's 224 

Arabia 8 — 8's 201 

Ariel 4-8's & 2-6's 185 

Arlington C M 118 

Ashley CM 120 

Assylum 7's & 6's 250 

Atlantic LM 28 

Attercliffe CM 123 

Auburn CM 113 

Axbridge CM 114 

Aynboe 8M 132 

Balerma CM 115 

Barby CM 80 

Barrett 6— 8's 166 

Beaumont P M CI. VI 278 

Bedford CM 117 

Bethel S M 140 

Birmingham L M 64 

Birmingham 2-6's & 4-7's 242 



PAGE. 

Bishopsthorpe CM 88 

Bolton CM 110 

Boylston 8 M 131 

Bradley Church .... S M 130 

Brighton 6— 8's 173 

Bristol CM 98 

Broomsgrove C M 108 

Burford C M 126 

Burnham 4-8's & 2-8's 194 

Calcutta 8-7'8 & 4's 206 

Calvary 8-7's & 4's 208 

Camberwell CM 116 

Cambridge S M 127 

Canada L M 66 

Carey's 6— 8's 151 

Carnaby 4 — 8's 204 

Carr's Lane CM 109 

Castleton 6 — 8's 165 

Charity 6— 8's 162 

Charmouth CM 90 

China CM 95 

Christianity S M 144 

Church Street 8-7's & 4's 209 

City Road 7's & 6's 256 

Clark's 7's & 6'8 248 

Cleft of the Rock... 6— 8's 152 

Compassion S M 128 

Complaint LM 75 

Condescension .... CM 105 

Cornhill SM 142 

Coronation L M 71 

Coronation C M 109 

Cranbrook S M 139 



PAGE. 

Culpinstock ... 8 — 7's 228 

Daisy Hill LM 22 

Dallas S M 142 

Dalston P M CI. V 275 

Damascus 6 — 7's 233 

Daniel LM 33 

Daventry L M 42 

David 4— 8's 205 

David'sHarp CM 121 

Dedication 2-6's & 4-7's 246 

Delight C M 102 

Dependance 7's & 6's 254 

Derbe P M CI. I 262 

Deritend C M 103 

Desire 6 — 8's 159 

Devizes CM 78 

Devotion L M 73 

Didsbury 6 — 8's. 2nd 179 

Dismission 8's & 7's 217 

Dover S M 138 

Dresden LM 39 

Duke Street L M 29 

Dundee C M 79 

Dunstable „. -4-6's & 2-8's 193 

Eastbourne S M 141 

Easter 8 — 7's 230 

Eaton 6— 8's 160 

Eccles 2-6's & 4-7's 247 

Effingham LM 60 

Eglon 6— 7's 238 

Egypt S M 149 

Ephesus CM 119 



PAGE. 

Essex 8M 146 

Evening LM 48 

Evening Hymn L M 41 

Falcon Street S M 133 

Falmouth S M 144 

Federal Street L M 64 

Feversham 4 — 7's 224 

Gabriel CM 122 

Gainsborough CM 96 

Galilee PMC1.V 273 

Gay's 6 — 8's. 2nd 177 

Geneva C SI 116 

Gerar SM 135 

German Hymn 4 — 7's 225 

Getksemane L M 74 

Glastonbury L M 34 

Goshen 4 — 8's 206 

Haddam 4-6's & 2-8's 188 

Hamburg LM 63 

Hannathon L M 21 

Hanover 10's & ll's 257 

Harmonia CM 97 

Harmony S M 148 

Harmony 10's & ll's 260 

Harwich P M CI. II 265 

Harwoods 4-8's & 2-6's 180 

Havanna CM 94 

Haydn L M 62 

Hebron LM 59 

Hclmesley 8-7's & 4's 211 

Helston 8-7's & 4's 210 



ALPHABETICAL IISTIDEX TO THE TXTISTES. 



PAGE. 

Hensbury CM 81 

Halton PMC1. I 264 

Homsrton 6 — 8's 155 

Hotham 8— 7's 231 

Howard CM 94 

Howell 2-6's & 4- 7's 245 

Uythe 4-8's 205 

Ipswich SM 136 

Irene 2-6's & 4-7 's- 244 

Irish CM 79 

Isaiah C M 134 

Israel 8 — 8's 202 

Jackson's Hymn... 6 — 8's, 2nd 178 

Jesse 8's & 7's 213 

Job LM 31 

Josiah 7's & 6's 255 

Joy S M 140 

Judea P MCI. VI 277 

Judgment L M 68 

Justification ~. L M 37 

Keliah C M 112 

Kendall CM 104 

King Street 10's & ll's 261 

Kingswood 7's & 6's 251 

Lanesborough CM 91 

Latrobe 4-8's & 2-6's 186 

Ledbury 6 — 8's 164 

Lennox 4-6's & 2-8's 196 

Leoni P M CI. VI 276 

Liberia PMC1.IU 269 

Linton Green 6 — 7's 238 

Liverpool CM 91 

London CM 96 

Loughborough LM 50 

Love. , 6— 8's 170 



PAGE. 

Luther's 6— 8's 153 

Lutman 4-6's & 2-8's 192 

Lydia t... CM 99 

Madrid 6— 8's 171 

Majesty 4-6's & 2-8's 197 

Mamre L M 23 

Manchester LM 66 

Mansfield S M 134 

Mansion 8 — 8's 203 

Marsden 6 — 7's 237 

Martin's Lane 6 — 8's, 2nd 176 

Martyn 8— 7's 232 

Martyrdom CM 97 

Mathias S M 136 

Mear CM 125 

Melbourne L M 38 

Melcombe LM 25 

Melville 4— 7's 222 

Messiah CM 86 

Migdol LM 57 

Milton Abbey S M 129 

Monmouth 6— 8's, 2nd 174 

Morning Hymn L M 40 

Mount Calvary 6 — 7's 242 

Mount Ephraim ... 8 M 129 

Mount Hermon 4 — 7's 226 

Mount Pleasant .... CM 114 

Munich L M 76 

Murray 4-6's & 2-8's- 189 

Narcissus 4 — 7's 219 

Narenza 8M 145 

Nehemiah CM 101 

Newcastle LM 52 

New Court 6— 8's, 2nd 175 

Newhaven LM 45 

Newington Green... L M 74 

New Street 4-8s & 2-6's 187 



PAGE. 

Northampton Chapel 8's & 7's 214 

Norton 10's & ll's 259 

Nottaway L M 46 

Oatland's CM 110 

Old German P M CI. II 267 

Oldham CM 106 

Old Hundred LM 21 

Paradise P M CI. Ill 268 

Peck's Trumpet. ... 6— 8's 161 

Perseverance L M 65 

Peru LM 58 

Peterborough C M 106 

Piety CM 89 

Pilton 4— 7's 223 

Plymouth Dock 6— 8's 156 

Port Hope LM 61 

Portugal L M 36 

Portuguese 10's & ll's 258 

Praise 4-8's & 2-6 s 182 

Prayer 4— 7's 222 

Preparation 7's & 6's 249 

Prescott CM 95 

Prescott 8— 8's 200 

Queenborough 8's & 7'8. 216 

Eamsey 6 — 7's 236 

Rapture P MCI, II 266 

Remembrance 4-6's & 2-8's 190 

Repose PMC1. V 274 

Reuben S M 130 

Revelation CM 93 

Reward. 4-6's & 2-8's 195 

Rochdale 4-8's & 2-6's 183 

Rockingham LM 32 

Romanza .... 8's & 7's 218 

Rose Hill. ~..«.. CM 87 



PAGE. 

Rose Lane CM 104 

Rothwell LM 30 

Sacrifice S M 143 

Safety 6— 7's 234 

Sandbach L M 70 

Sandforth S M 150 

Sarah S M 132 

Savona 4— 7's 223 

Seville 8— 7's 229 

Sheldon CM 122 

Shirland S M 128 

Shrewsbury S M 138 

Sicilian Mariners . . 4 — 7's 221 

Siloam 6 — 8's 158 

Simeon's Joy 6— 8's 169 

Slateford 2-6's & 4- 7's 243 

Sovereign Balm ... C M 124 

Spilsby SM 150 

Sprowston CM 82 

Spruce Street C M 1' 8 

St Ann's CM 111 

St. Bride's S M 119 

St. John's 4-8's & 2-6's 180 

St. Marv's C M 126 

St. Matthew's CM 84 

St. Pancras C M 107 

St. Stephen CM 88 

St. Swithin 4-6's & 2-8's 191 

Stephen P M CI. IV 270 

Stonefield LM 47 

Suffolk CM 83 

Terah 6— 8's 157 

Thatcher S M 147 

Theodora 4— 7's 221 

Toronto CM 86 

Townhead 4— 7's 226 

Tranquility.. .....m. LM 55 



ALPHABETICAL IltflDESS: TO THE TXJ1STES. 



PAGE 

Triumph LM 72 

Trinity CM 90 

Troau P M CI. I 263 

Uffingham.. - LM 76 

Venice 6 — 7's 240 

Vienna 8— 7's 214 

Wakefield — LM. 44 



Walsal CM 

Ward L M 

Wareham LM 

Warrington LM 

Warsaw 4-6's & 2- 

Warwick CM 

Watchman SM 

Waterstock 4-6's A 2- 

Watson 6 — 7's 

Wearwell CM 



8's 



PAOE. 

127 

63 

26 

67 

188 

119 

137 

198 

241 

99 



PAGE. 

Wednesbury PMC1. IV 271 

Wellspring 6 — 7's 335 

West's C M 10 

Wexford LM 77 

Whitsuntide. 6 — S's 168 

Wigan P M CI. V 272 

Willowby 4-8's & 2-6's 184 

Wilton LM 35 

Wilts CM 89 

Winchester LM 59 







PAGE. 




LM 
SM 


67 




151 


Wondrous Cross.... 


LM 


54 


Woodhouse Qrove. 


7's & 6'B 


262 


York 


CM 


85 




6—3*8 


167 




6— 8 s 


172 




8 M 


146 



J^l^THIIEIMIS, <5ca- 



PAGE. 

Angels from the realms of glory. (Christmas Anthem) 324 

Ascension 338 

Awake, awake, put on thy strength 3 9 

Blessed are the dead which die in the Lord 305 

Christmas Anthem. (Angels from the realms of glory) 324 

Daughter of Zion 307 

Doxology 347 

Euster Anthem (Lift your glad voices) 320 

Father, breathe an evening blessing 292 

For behold the day cometh 3 ' 8 

Gloria Patri 287 

Go to the gravo 292 

Happy Land 291 

Heavenly Father 322 

Holy! Lord God of Sabaoth i 289 

Holy I LoH God of Sabaoth 290 



PAGE- 

I will arise , ., 279 

In Jewry is God known , 334 

Jerusalem, my glorious home 314 

Lift your glad voices. (Easter Anthem) 320 

Lord of all power and might 280 

Now Lord we part in thy great name 342 

come, let us sing unto the Lord 293 

O praise the Lord all ye nations. (Thanksgiving Authem) 285 

One thing have I desired of the Lord 282 

Sacred Peace, celestial treasure 341 

Salvation, the joyful sound 329 

Thanksgiving Anthem. (0 praise the Lord all ye nations) 285 

The Promised Land 329 

Unveil thy bosom, faithful tomb 3 ( '2 

VitaJ spark of heavenly flame • *.;... 29* 



METRICAL IHSTIDIKiX:. 



L. M. 

PAOB. 

Admiration,.—.^— 53 

Adoration 51 

Alfreton 27 

Angels' Song 24 

Atlantic 28 

Birmingham 64 

Canada 56 

Complaint 75 

Coronation 71 

Daisy Hill 22 

Daniel 33 

Daventry 42 

Devotion 73 

Dresden 39 

Duke Street 29 

Effingham 60 

Evening 48 

Evening Hymn 41 

Federal Street 64 

Gethsemane 74 

Glastonbury 34 

Hamburg 63 

Hannathon 24 

Haydn 62 

Hebron 59 

Job 31 

Judgment 68 

Justification 37 

Loughborough 50 

Mamre 23 

Manchester 66 

Melbourne 38 

Molcombe 25 



PAGE, 

Migdol 67 

Morning Hymn 40 

Munich 76 

Newcastle 52 

Newhaven 45 

Newington Green.... 74 

Nottaway 46 

Old Hundred 21 

Perseverance 65 

Peru 58 

Port Hope '. 61 

Portugal 36 

Rockingham 32 

Rothwell 30 

Sandbach 70 

Stonefield 47 

Tranquility 55 

Triumph 72 

Uffingham 76 

Wakefield 44 

Ward 63 

Wareham 26 

Warrington 57 

Wexford 77 

Wilton 35 

Winchester 59 

Windham 67 

Wondrous-Cross 54 

C. M. 

Abingdon™.,... 118 

Abridge 80 

Antioch 92 



PAGE. 

Arlington 118 

Ashley 120 

Attercliffe- 123 

Auburn 113 

Abridge 114 

Balerma 115 

Barby 80 

Bedford 117 

Bishopsthorpe 88 

Bolton 110 

Bristol. 98 

Broomsgrove 108 

Burford 126 

Camberwell 116 

Carr's Lane 109 

Charmouth 90 

China 95 

Condescension 105 

Coronation 109 

David'* Harp 121 

Delight 102 

Deritend 103 

Devizes 78 

Dundee 79 

Ephesus 119 

Gabriel 122 

Gainsborough 96 

Geneva 116 

Harmonia 97 

Havanna 94 

Hensbury 81 

Howard 94 

Irish .. 79 

Keliah, 112 



PAGE. 

Kendall 104 

Lane6borough 91 

Liverpool 91 

London 96 

Lydia 99 

Martyrdon 97 

Mear 125 

Messiah 86 

Mount Pleasant 114 

Nehemiah 101 

Oatlands 110 

Oldham 106 

Peterborough 106 

Piety 89 

Prescott 95 

Revelation 93 

Rose Hill 87 

Rose Lane 104 

Sheldon 122 

Sovereign Balm 124 

Sprowston 82 

Spruce Street 108 

St. Anns Ill 

St. Mary's 126 

St. Mathews 84 

St Pancras 107 

St. Stephen 88 

Suffolk 83 

Toronto 86 

Trinity 90 

Walsal 127 

Warwick 119 

Wear Well 99 

Wests 100 



PASS. 

Wilts 89 

York.»—~~.~« 85 

B. M. 

Aynhoe— ~»~. 132 

Bethel 140 

Boylston 131 

Bradley Church 130 

Cambridge 127 

Christianity ... 144 

Compassion 128 

Cornhill 142 

Cranbrook 139 

Dallas 142 

Dover 138 

Eastbourne 141 

Egypt 149 

Essex 146 

Falmouth 144 

Falcon Street 133 

Gerar 135 

Harmony 148 

Ipswich 136 

Isaiah 134 

Joy 140 

Mansfield 134 

Mathias 136 

Milton Abbey 129 

Mount Ephraim 129 

Narenza 145 

Reuben 130 

Sacrifice 143 

Sandforth 150 



PAGE. 

Sarah ........ 132 

Shirland 128 

Shrewsbury 138 

Spilsby 150 

St. Bride's 149 

Thatcher 147 

Watchman 137 

Wirksworth 151 

Zeal 146 

6-8'B. 
First Metre. 

Admah 154 

Barrett 166 

Brighton 173 

Careys 151 

Castleton 165 

Charity 162 

Cleft of the Rock.... 152 

Desire 159 

Eaton 160 

Homerton 155 

Ledbury... 164 

Love 170 

Luther's Hymn 153 

Madrid 171 

Peck's Trumpet 161 

Plymouth Dock 156 

Siloam 158 

Simeon's Joy 169 

Terah 157 

Whitsuntide 168 

Zalmonah 167 

Zauberflote 172 



METRICAL INDEX. 



6— 8's. 
Second Metre. 

PAGE. 

Didsbury 179 

Gays 177 

Jackson's Hymn 178 

Martin's Lane 176 

Monmouth 174 

New Coart 175 

4 links 8's A 2 — 6's. 

Ariel 185 

Harwood's 180 

Latrobe 186 

New Street. 187 

Praise 182 

Rochdale 183 

St. John's 180 

Willowby 184 

4 links 6's is 2 — 8's. 

Burnham „.. 194 

Dunstable 193 

Haddam 188 

Lennox 196 



PAGE. 

Lutman 192 

Majesty 197 

Murray 189 

Remembrance 190 

Reward 195 

St. Swithin 191 

Warsaw 188 

Waterstock 198 

EIGHTS. 

Albion 199 

Arabia 201 

Carnaby 204 

David 205 

Goshen 206 

Hythe 205 

Israel 202 

Mansion 2C3 

Prescott.... 200 

8—7 & 4's. 

Calcutta 206 

Calvary 208 

Church Street 209 

Helmsley 211 

Heleton 210 



8's a 7's. 

PAGE. 

Advent 212 

Dismission 217 

Jesse 213 

Northampton Chapel 214 

Queenborough 216 

Romanza 218 

Vienna 214 

4 LINES 7's. 

Aaron 220 

Alma 220 

Ambleside 227 

Anxiety 224 

Feversham 2?4 

German Hymn 225 

Melville 222 

Mount Herman 226 

Narcissus 219 

Pilton 223 

Prayer 222 

Savona 223 

Sicilian Mariners.... 221 

Theodora 221 

Townhead 226 



8 lines 7's. 

PAGE. 

Culpinstock 228 

Easter 230 

Hotham 231 

Martyn 232 

Seville 229 

6 lines 7's. 

Damascus 233 

Eglon 238 

Linton Green 238 

Marsden „ 237 

Mount Calvary 242 

Ramsey 236 

Safety 2?4 

Venice 240 

Watson 241 

Wellspring 235 

2—6 & 4— 7's. 

Birmingham 242 

Dedi«ation 246 

E«cles 247 

Howell 245 

Irene „ 244 

Sjajjeford 243 



7's a 6's. 

PAGE. 

Amaziah 253 

Asylum 250 

City Road 256 

Clark's 248 

Dependance 254 

Josiah 255 

Kingswood 251 

Preparation 249 

Woodhouse Grove... 252 



10's A ll's. 

Hanover 257 

Harmony 260 

King Street 261 

Norton 259 

Portuguese Hymn ... 258 



P. M. CLASS I. 

Derbe ..,..„ 262 

Halton 264 

Troas 263 



P. M. CLAS8 II. 

PAGE. 

Harwich 265 

Old German 267 

Rapture 266 

P. M. CLASS III. 

Liberia 269 

Paradise 2G8 

P. M. CLASS IV. 

Stephen 270 

Wedncsbury 271 

P. M. CLASS v. 

Dalston 275 

Galilee 273 

Repose 274 

Wigan 272 

P. M. CLASS VI. 

Beaumont 278 

Judea 277 

Leoni 276 



GENERAL INDEX TO THE HYMNS AND SUITABLE TUNES. 



This Index is not Intended to prevent the Hymns being gong to other suitable Tunes, but only as a ready guide to such Tones at are suitable ; cor is the order in which the Tones are 

arranged intended to indicate any preference of one Tune over another 



First Lines. 



for a thousand . . . 
Come, sinners, to... 
O all that pass by.. . 
Hoi everyone that. 
Thy faithfulness, . .. 
Sinners, turn, why. . 
Let the beasts their.. 
What could your. ... 
Sinners, obey the . .. 
Ye thirsty for God.. . 
God, the offended... 
Come, ye that love.. 
Happy coul, that. . . 
Happy the man that 
Happy the souls to.. 
Happy the souls that 
Jesus, from whom.., 
Maker, Saviour of. . 
Rejoice evermore. . . , 
Weary souls, that. ., 
Ye simple souls. . . . 
Behold the Saviour. 
Extended on a cur 
Ye that pass by 

thou dear suf- . . . 

1 thirst ,thou woun 
Saviour, the world's. 
O love Divine I what 
Come, ye weary sin' 
Where shall my. .. . 
See sinners, in the . 
Sinners, believe the 
Would Jesus have. . 
Let earth and hea- 
Jesus, thou all re-. .. 
Lovers of pleasure. 
Jesus, the Name. . 
O God of good th'. 
Father whose ever-. . 
Ve neighbours and. . 
O God 1 our help in. 
Thee we adore .... 
And am I born to . . • 
And am I only born. 
.Shrinking from the. . 



Metres. 



CM. 

L. M. 
10'" & I l's. 

L. M. 
ID'S & U's, 

8-7's. 

8-7's. 

8-7's. 

L. M. 
10's fell's. 

L. M. 

S. M. 

8— 7*s. 

L. M. 

CM. 

L. M. 

L. M. 

7's & 6's. 

10's& U's. 

6— 7's. 

S. M. 

C. M. 

L. M. 

L. M. 

L. M. 

L. M. 
2-6's &4-7'b. 

6-8'b. 

8— 7's. 

6— 8's. 

6— 8's. 

6— 8's. 

6—8*8. 
4-6's & 2-8's. 

C. M. 

C. M. 

C. M. 
6-8's, 2nd 

L. M. 
10's & ll's. 

C M. 

C. M. 

S. M. 
4-8's & 2-6's, 

L. M. 



Names of Suitable Tunes. 



Attercliffe 

Canada . - 

Hanover • « 

Peru 

Portuguese Hymn. 

[iotham 

German Hymn. . . 
Mount Hermon . .. 

tonefield 

Hanover 

Wareham 

Cranbrook 

Hotham 

Angel's Song. . . . 

Warwick 

Stonefield 

Rockingham . . . . 

Assylum 

Portuguese 

Mount Calvary. . , 

i 'am bridge 

Prescott , 

Rockingham.... . . 

U Gingham 

Wakeham . . . . . 
Stonefield. ..... 

Irene 

Homerton. ...... 

Townhead 

Luther's Hymn. .. 
Plymouth Dock. . 

Madrid 

Barrett 

Burnham 

Hensbury 

Bristol 

Arlington 

Monmouth 

Justification . • .. 

St. Mary's".."."."." 

China 

Sarah. . 

Willou liby 

Complaint 



Bolton 

Devotion 

Norton 

Justification. . , 



Seville 

Sicilian Mariners. . 

Alma 

Duke Street 

Norton .. 

Hamburg 

DallaB 

Seville 

Duke Street 

Oldham 

Ward 

Angel's Song . . . . 

City Road 

King Street 

Wellspring 

Dallas 

St. Ann's 

Munich 

Angel's Song 

Melcombe 

Duke Street 

Dedication 

Terah 

Savona 

Eaton 

Cleft of the Rock 

Terah 

Charity 

Dunstable..- 

Bedford 

Broomsgrove . . . . 

Rose Laae 

New Court 

Newhaven 

Harmony ••..... 

Walsal 

St. Msry's 

fioylston 

R-tchdalo. • 

Sa.dbach 



Wilts. 

Effingham. 

King Street. 

Rolhwell. 

Hanover. 

Pilton. 

Hotham, 

Savona. 

Sandbach. 

King Street. 

Melcombe. 

Essex. 

Culpinstock. 

Effingham. 

Attercliffe. 

Duke Street. 

Mamre. 

Josiah. 

— «% 
Ramsay. 
Wirksworth. 
Abridge. 
Melcombe. 
Wakefield. 
Windham. 
Daisy Hill. 
Eccles. 
Love. 
Seville. 
Desire. 
Carey's. 

Plymouth Dock. 
Brighton. 
Warsaw. 
Abridge. 
Howard. 
West's. 
Gay's. 
Migdol. 
Norton. 
St. Stephen's. 
Dundee. 
St. Bride's. 
Latrobe. 
Effingham. 



89 89 



First Lines. 



The morning flowers 
Come, let us anew. .. 
Pass a few swiftly. .. 
:\h, lovely appear. ... 
Rejoice (or a brother 
Blessing, honour,... 
Hark I a voice di-. .. 
Again we lift our. ... 
Give glory to Jesus. . 
Hearken to the.. . . 

Thou Judge of 

He comes I ho comes 
The great Archangel . 
Jesus, faithful to . . . 
Thou God of glort-.. 

Righteous God 

Stand th' Omnipo-. . 
How happy are the. . 
Woo to the men on. , 
By faith we find. . .. 

Ye virgin souls 

Lo I he comes with. 
How weak the. . . . 
How happy is the. .. 
Thou, Lord, on. . .. 
I long to behold .... 
Leader of faithful... 
Saviour, on me the. . 
Away with our sor-.. 
Wo know, by faith. .. 
Lift your eye* of. . . 
What are these ar-.. 
The Ch'jreh in her. . 
The thirsty are... • . 
A fountain of Life. 
Terrible thought I. 
Father of omoipro- 
ibepheid of souls. 
Thou Son of God.... 
Come O thou all. 
Spirit of Faith, come 
Sinners, your hearts. 
Come, Holy Gjost. 
Father of all, in. . 
Inspirer of the an-. .. 



Metres. 



L. M. 

• M. CI. 1. 

L. M. 

8— 8's. 

8— 8's. 

8-7's. 

8 -7's. 

2-0's & 4-7's. 

8-8's. 

7's h 6's. 

S. M. 

L. M. 

L. M. 

7's & 6's. 

l-8's&2-6's. 

8's & 8's. 

7's & 6's. 

1-8'e it 2-C's. 

C. M. 

C M. 

1-6's & 2-8's. 

l's, 7's & 4's. 

2-6's &,4-7's. 

4-8's & 2-6's. 

e-s's. 

8-8's. 
6-s's. 
6— 8's. 
8-8's. 
S. M. 
8-7's. 
8—7's. 
8— S's. 
8— 8's. 

8-*'B. 

C M. 

6— 8's. 
L. M. 
CM. 
C. M. 

a m. 

2-6's & 4-7's 
C M. 
CM. 
6-8's. 



Names of Suitable Tnnes. 



Rockingham 

Holton 

Newington Green. 

Arabia 

Albion 

Hotham 

G'.rraan Hymn 

Dedication, 

Mancions 

Preparation 

Wirksworth 

Judgment 

Job 

Preparation.. . . 

Ariel 

Ambleside 

Preparation . .. . 

Rochdale 

Bnrford.. . . . . 

Abridge. ...... 

Majesty 

Helston 

Howell 

New Street 

Carey's 

Mansions 

Plymouth Dock. 
Madrid ...... 

Albion 

Mansfield .... 

Alma 

Tl.eodora 

Prescott 

Israel 

Carnaby 

Walsal 

Luther's Hymn 
Rockingham . .. 

Abridge 

Arlington 

Shi Hand 

Dedication 

Sheldon 

Abingdon 

Uesire 



Wilton 

Derbe 

Wareham 

Carnaby 

Gosben... ...... 

Seville 

Feversham 

Irene .. 

Prescott . . 

Assylum 

Sarah 

Melcombe 

Wareham 

City Road 

Harwood 

German Hymn... 

Assylum 

St. John's 

Balarma 

Hensbury 

Lennox 

Calvary 

Dedication 

St, John's 

Eaton 

Israel 

Terah. 

Siloam 

Carnaby 

Cambridge 

Seville 

Narcissus. . . • . ■ 

Carnaby 

David 

Prescott 

St. Mary's 

Plymouth Dock., 
Justification. 

Dundee 

Lydia 

Spilsby 

Irene 

I lensbury 

War« ick 

Carey's ....... 



Mamre, 
Troas. 
Munich. 
Prescott. 
Hythe. 
Martyo. 
Aaron. 
Eccles. 
Carnaby. 
Clark's. 
Aynhoe. 
Job. 

Old Hatdrcd. 
Josiah. 
New Street. 
Hotham. 
Kingewood. 
Praise. 
Martyrdom. 
Oak lands. 
Burnham. 
Helinsley. 
Eccles. 
Harwood. 
Madrid. 
Arabia. 
Admsb. 

Cleft of the Bock. 
David 
Mathias. 
Narcissus. 
Martyn, 
Albion. 
Carnaby. 
Hythe. 
Balerma. 
Madrid. 
Warring too. 
Irish, 
Antioch. 
Bethel. 
Eccles. 
Trinity. 
Rose Lane. 
I "t'atou. 



GENERAL INDEX TO THE HYMNS AND TUNIS. 



9'' 

91 

92 

93 

94 

95 

96 

97 

9: 

99 

100 

101 

102 

103 

104 

105 

106 

107 

10P 

109 

110 

111 

112 

113 

114 

115 

116 

117 

US 

119 

120 

121 

122 

123 

124 

125 

126 

127 

128 

129 

ISO 

131 

13 2 

133 

134 

135 

136 

137 

1E8 

139 

110 

141 



First Linn. 



94 
95 
95 

n 

9S 
98 
0:1 
100 
1 01 
10-2 
102 
10 
10-! 

105 

106 
107 
109 

110 

111 

113 
113 
114 
115 

no 

ii 
tie 

119 
119 
120 
121 
l-'2 
1-3 
128 
121 
125 
12G 
1-27 
12- 
ISS 
129 
130 
131 
132 
134 
135 
180 
137 
136 



Tims, taith the Lord. 
Long have I seero'd. . 

Still lor thy loving. . 

My gracious loviog. . 

The men who slight. 
\uthor of faith, eter- 

How can n sinner.. .. 

Thou great mjsteri-. 

Upright, both in. . . 

Father of lights, fr-. 

Jesus, my Advocate. 

Saviour, Prince ot. . 

O that I could rep*. . 

O that I could re\-. . 

O for that tenderness 

O that I couid rep-. . 

Jesu, let thy pity- . . 

Tho Spirit of the.... 

Pnslaved to sense . .. 

Wretched, helpless,. . 

Jesus, Friend of . .. . 

Thus saith the Lord. 

Woe is me I what.... 
O thou, whom fain. . 
Jesus, in whom. . . 

Let the world their. 
Saviour, casta pity 
God is in this and. .. 
Author of faith, to. 
Father of Jesus. . . 
Comfort ye minis-. . 
Expand thy wings. . 
O thou who hast our 
Let the Redeem'd. .. 
O that I, first of. .. .. 
O that 1 could my. .. 
Too strong I was. . • 
Wherewith, O God,. . 

With glorious 

Adam, descended.. . 
Thou God unsearch-. 

Lord, 1 despair 

Jesus, the sinners. .. 
Jesus, whose glory's. 
Jesus, if still the. .. . 
Jesu if still thou. . . 
While dead in tres-.. 

When shall thy 

O that thou wouldst. 
Je6u I Redeemer . . . 
Come, O thou Travel- 
Yield to me now . . . 



Metres. 



L. M. 
C. M. 
U. M. 

S. M. 
C. M. 

L. M. 

S. V. 

4-8's & 2-6' 

7's & 6's. 

6-8's. 

L. M. 

6— 7's. 

S. M. 

S. M. 

C. M. 

S. Ms 
7's * 6's 

L. M. 

C. M. 
7's & 6's. 
7's & 6's. 

L. M. 
7's & 6'a. 

6-8's. 

6-8-s. 
7's & 6's. 

0-7's 

CM. 
4-8's & 2-6's 

C M. 

6-8's. 

6— 8 s. 
4-8's &. 2-6's 

C. M. 
4-8's & 2-6's 

v. m. 

L. M. 
L. M. 
C. M. 
L. M. 
6-0's. 
L. M. 
L. M. 
L. M. 
6— 8'a. 
C. M. 
C. M. 
S. M. 
C. M. 
O. M. 
6— S's. 
8— 8'a. 



Names of Suitable Tones. 



Wareham 

St. Mar>'s 

Ch'irmoutk 

Isaiah 

Bedford 

Portugal , 

Falmouth 

Harwood 

Clark's 

Luther's Hymn . .. 

Stonefield 

Eglon 

Sarah 

St. Bride's 

Tork 

Mount Ephraim.. .. 

Kingswood. 

Morning Hymn.... 

Irish 

Clark's 

Josiab. . • 

Adoration 

Clark's 

Cleft of the Rock . 

Siloam 

Clark's 

Mount Calvary. . . 

Dundee 

Praise 

Warwick 

Admah , 

Desire 

Latrobe 

Geneva 

St. John's ■ • • • , 

Sprowston .... 

Old Hundred. . 

Wakefield 

Rose Lane. • • . , 

Alfreton 

Eaton ..... ■ . . 

Complaint 

Sandbach 

Angel's Song. . . 

Cleft of the Rock 

Bristol 

Irish 

Reuben 

Sheldon 

Condescension. . 
I Cleft of the Rock 
■ Desire 



Warrington .... 

Burford 

David's Harp . . 

Thatcher 

Arlington 

Port Hope 

Mathias 

Latrobe 

Dependance 

Homerton 

Mnmre 

Wellspring 

St. Bride's 

Zeal 

Antiocb 

Aynhoe 

Dependance. . . . 

Wakefield 

Arlington 

Assylnm. • • . • • 

Dependance 

Daventry. ...... 

Assylum ... • . 

Desire.... 

Zauberflote . . . 

Assylum 

Eglon 

Havanna ...... 

Ariel 

Rose Hill 

Plymouth Dock. . 
Siloam 

Willoughby 

St. Stephen's .. . 

Ariel 

Oaklands 

Wexford 

Port Hope. ..... 

Warwick 

Federal Street. . . 

Desire 

Windham 

Uebron 

Wondrous Cross.. 
Simeon's Joy ... 
Mount Pleasant.. 

Liverpool 

-T- Irland 

Carr's Lane 

Ephesus 

Plymouth Dock... 



Eaton ICastleton 



Stonefield. 

Walsal. 

Warwick. 

Sarah 

Warwick. 

Adoration. 

Boylston. 

Ariel. 

Josiah. 

Desire. 

Dresden. 

Dumascua. 

W irksworth. 

Boylston. 

Gabriel. 

Brad'ey Church. 

City Road. 

Devotion. 

London. 

Amaziah. 

Kingswood. 

Effingham. 

City Road. 

Siloam. 

Castleton. 

Woodhouse Grove 
Linton Green. 

8t. Steven's. 

New Street. 

Geneva. 

Ledbury. 

Desire. 

Rochdale. 

Devizes. 

Rochdale. 

York. 

Ward. 

Nottaway. 

Suffolk. 

Loughborough. 

Madrid. 

Munich. 

Coronation. 

Warrington. 

Terah. 

Lanesborongh. 

Rose Hill. 

Bradley Church, 

Barby . 

Messiah. 

Carey's 



142 
143 
141 
145 
146 
>47 
148 
149 
150 
151 
152 
153 
154 
155 
ISO 
157 
158 
159 
160 
161 
1G2 
lOd 
164 
165 
166 
167 
168 
169 

170 
171 

172 

173 

174 

175 

176 

177 

178 

179 

180 

181 

163 

183 
84 

185 

186 

187 

188 

1S9 

190 

161 



139 

140 

111 

143 

144 

145 

14 

146 

117 

I4S 

119 

150 

151 

151 

153 

153 

154 

155 

156 

157 

157 

159 

160 

161 

162 

164 

165 
166 

167 
167 

168 

168 

170 

171 

172 

173 

174 

174 

176 

176 

177 

178 

179 

180 

181 

182 

183 

185 

186 

187 



First Lines. 



192 188 
183|18e 



Drooping sonl . . . . 
Jesu, Lover of my. . 
Thee, Jesu, thee. . . . 
O Jesus, let me. . . . 
Still, Lord, I languish 
O Love Divine, how. 
Father of Jesus.. . . 
Thus saith the Lord 
Thou hidden God.. .. 
Out of the deep I. .. 
Ah 1 whether shonM 
Le I in thy hand I. .. 
Fain would I leave. 
God of my life, what 
O disclose thy. . . . 
My sufferings all . . 
O my God, what. . 
Lay to thy hand. . 
Jesus, my hope,. 
Stay, thou insulted 
O my offended God 
When, gracious. . , 
Lord, regnrd my . . 
Come, h^ly, celestial 

Jesus, take my 

Lamb of God, for ... 
Depth of mercy .... 
Jesus, the all re-. . . 
O 'tis enough, my. .. 
OGod, if thou art.. 
O unexhausted. . . . 
Jesus, I believe. . . 
How shall a lost. . . 
God of my salvation. 

God, thy right-.. .. 
Jesus, thou know'st. 
Yes, from this in- . . 
Father, if thou.. .. 

Saviour, I now 

Thou man of griefs. . 

1 will hearken 

Jesu, Shepherd of... 
My God, my God . . . 
After all that 1 have 
Weary of wand'ring. 
Son of God, if thy. . 
Lord, and is thine. .. 
Now I have found. .. 
Jesus, thy Blood and 
Thee, O my God.. . . 
Oft I in my heart . . . 
O Filial Dotty 



8— 7's. 

8- 7's. 

4-8's & 2-6's. 

4-8's & 2-6's 

4-8's & 2fl- 8 

4-8's & 2-6's. 

6-b's. 

L. M. 

C M. 

2-6's & 4-7's. 

S. M. 

S. M. 

6-8's. 

L. M. 

6— 7's. 

L. M 

8— 7's. 

6— b's. 

'. M. CI. II. 

L. M. 

S. M. 

L. M. 

7's & 6's. 

8-8's. 

7's & 6's. 

7's 4 6'g. 

8-7's. 

C. M. 

6-8's. 

6-8's. 

8. M. 

6— 7's. 

8— S's. 

7's & 6's. 

6— 8's. 

6— 6's. 

6— 8's. 

7's & 6's. 

L. M. 

L. M. 

7's & 6's. 

6— 7's. 

C. M. 

8-7'«. 

6-8's. 

7's & S's. 

7's & 6's. 

6— 8's. 

L. M. 

2-6's & 4-7's 

7's & 6's. 

2-6's & 4-7'8 



Names of Suitable Tunes. 



G< rman Hymn . . 

Narcissus 

Harwood 

St. John's 

Rochdale. 

St. John's 

Carey's ........ 

Wareham 

St. Ann's 

Eccles 

Hoyston 

Shirland 

Siloam , 

Justification . .. . 
Linton Green . . . 
Daventy ....•• 
Hotham ....... 

Desire 

Rapture .,, 

Windham 

Mount Ephraim.., 
Effingham.. • •• ., 

City Road 

Israel . 

Assylum. ..... 

City Road 

Alma 

Bedford 

Terah 

Carey's 

Sarah 

Eglen 

Goshen 

Dependance .... 

Homerton 

Larey'B 

Admah 

Clark's 

Wareham ..... 

Melbourne 

Preparation. . . . 

Eglor. 

Howard ...... 

Mount Hermon. . 

Admah 

Assylum 

Preparation 

Siloam. ••••.••. 

Port Hope 

Eccles 

Kingswood 

Eccre* i 



Hotham 

Sieiftau Mariners 

Ariel. 

Latrobe 

Willoughby 

Harwood 

Homerton 

Angel's Song. . . 

Hensbury 

Irene 

Cranbrook 

Dallas 

Barrett 

Washington . . . 

Safety 

Wareham 

Martyn 

Ledbury 

Harwich 

Meleombe 

Sarah 

Justification 

Kingswood 

Albion 

Josiah ••••••... 

Kingswood . . ... 

Narcissus 

Abridge 

Simeon's Joy. . . . 
Cleft of the Rock. 
Wirksworth. . . . 
Damascus ..... 

David i 

Josiah 

Whitsuntide . . . 

Eaton , 

Madrid •••••••. 

Preparation 

Portugal 

Mam re 

Kingswood , 

Mount Calvary . . , 
Broom8grove. . .. 

Aaron , 

Charity 

Dependance. 

Citv Koad 

Cleft of the Rock. 

Atlantic 

Dedication. . .. . . 

Assylum 

Dedication 



Townhead. 

Mount Hermon. 

Praise. 

New Street 

St. John's. 

Ariel. 

Terah. 

Job. 

Nehemlab. 

Dedication . 

Bradley Churtr, 

Egypt. 

Love. 

Stonefield. 

Marsden. 

Daniel. 

German Hymn. 

Carey's. 

Old Ge mas. 

Munich. 

Essex. 

Loughborough, 

Dependance. 

Carnaby. 

Dependance. 

Josiah. 

Piltnn. 

Bristol. 

Witsuntldc. 

Eaton. 

Gerar. 

Venice. 

Israel. 

Clark's, 

Ledbury. 

Siloam. 

Barrett. 

Josiah. 

Winchester. 

Windham. 

Dependence. 

Linton Green. 

Condescension, 

Mellville. 

Terah. 

Amaziah. 

Josiah. 

Charity. 

Dnke Surest. 

Irene. 

Josiah. 

Birmingham. 



GENERAL INDEX TO THE HYMNS AND TUNES. 



R 


1 


a 


ft. 


194 


191 


195 


192 


I'.h; 


ioa 


197 


191 


198 


194 


199 


19 .' 


200 


I9i 


aoi 


197 


202 


19- 


20:1 


193 


204 


200 


2 5 


231 


a u 


202 


•207 


202 


20S- 


203 


2C9 


203 


211: 


204 


211 


205 


aia 


200 


213 


207 


214 


207 


ais 


20S 


210 


209 


917 


210 


21S 


210 


219 


211 


220 


213 


921 


2 4 


2a. 


1 16 


223 


210 


2241217 


32G 


21- 


22a 


218 


227 


29 


22a 


221 


22 


221 


280 


222 


231 


223 


232 


225 


243 '220 


234 


220 


23S 


227 


230 


228 


237 


22P 


238 


229 


239 


2(0 


240 


231 


V4I 


213 


212 


234 


243 


230 


241 


237 


246 


23. 



First Lines. 



\rise, my soul, arise, 
High above every . . 
Intj thy g acioug . . 
Ilo jtpv foul, who. .. 
O what shall I do. . 
O heavenly King. .. . 
My Father, my God,. 
And can it be that . . 
Arise, my soul, • .. . 
Glory to God, whose 
Jesus, thou soul of 
My God, I am thine,. 
What am I, O thou. 
Jesus is our com-.. .. 
Come, let us, who. ., 
Thou hidden Source 
Thee will I love, my 
Let all men rejoice. 
My brethren belov'd 
My God, the spring. 
Talk with us, Lord. 
Glorious Saviour of. 
Infinite, unexhaust . 

Jesus, to thee I 

See how great a . .. . 
All thanks be to ... . 
All g'ory to God in. . 
M' et and right it is. 
How happy gra- . . . 
When Israel out of. . 
I'll praise my .Maker. 
Praise ye the Lordl. 
Eternal Wisdom I ... 
flow do thy mercies. 
Tbou Shepherd of . . . 
God of my life, to . . 
Fountain of life- . .. . 
Away with our fears. 
Young men and. . . . 
Happy man whom . . 
Let all that breathe. 
Fattier < f all, whose. 
! on of thy Sire's. .. . 
Internal, spot! ss . .. . 

Meet add r ght 

flail I Father, Son .. 

OGod, thou bot- 

Thou, true and only, 
llorious God, nc-. ... 
Tl.ou, my Cod, art . . 
Tlinii. the g cat. . . . 
Good thou ail, aud. . 



Metres. 

2-C's & 4-7's. 
2-6's & 4-7's. 
L. M. 
8-7's 
10's & ll's. 
lO's&lf's. 
lO's&ll's. 

6— 8's. 
4-6's & 2-8's 

L. M. 
4-8's & 2-6's, 
P. M. d. II 

e— 8's. 

8-7's. 

C. M. 

6-8's. 

6— 8's. 

10's & ll's. 

10's & I l's. 

C. M. 

C. M. 

7's &6's 

C. M. 

C. M. 

8-7's. 

F. H. CI. I 

8— 9's. 

7's & 6's. 

4-8's & 2-6's. 

6— b's. 
6— 8's. 2nd 
L. M. 
C. M. 
L. M. 
8.-8's. 
4-6's & 2-8'fl. 

6— b's. 

P. M. CI. III. 

4-6's & 2 8's. 

8— 7's. 

L. !VJ. 

L. M. 

I.. M. 

L. M. 

8— 7's. 

C. M. 

L. M. 

L. M. 

7's h 6's. 

7's & 0's. 

7\s&0 , s. 

7'a & li's. 



Names of Suitable TuneB. 



Howell 

Irene 

Rockingham . . . . 

Townhead 

Norton 

Portuguese Himn. 

Hanover 

Cleft of the Rock. 

Lennox 

Aifreton 

Ariel 

Harwich 

Carey's 

Sicilian Mariners.. 

Gabriil 

Barrett 

Charity.... 

Hanover 

Harmony 

Oatlands . 

Attercliffe 

Clark's 

Mount Pleasant. ., 

Nehemiah 

Narcissus ....... 

Helton 

Israel 

Preparation 

St. John's 

Plymouth Dock.. 

Brighton 

Hannathon 

Arlington , 

Atlantic , 

Israel 

St. Swithin 

Castleton • • 

Liberia 

Burn I am 

Townhead. 

Old Hundred. 

Devotion , 

Canada 

Effingham ....... 

Anxiety '. 

St. Stephen's .. . . 

Warehom 

Job 

Assylum 

Preparation 

Claik's 

Prepaiution 



Eccles 

Dedication. .. 

Jcb. .. 

J eville 

flarmony . . . 

Norton 

Harmony 
Brighton 
Buinham . .. . 
Coronation . . 
Harwood 
Rapture . . . . 

Eaton 

FeversjQam. . , 
Hensbury . . . 
Simeon's Joy . 
Brighton 



Norton 

Sheldon 

Auburn , 

Preparation 

Attercliffe 

Martyrdom 

Seville 

Derbe 

Albion 

Josiah i 

Latrobe. 

Carless .••••.... 
Jackson's Hymn. .. 

Perseverance 

Rose Lane 

Port Hope 

Goshen 

Remembrance 

Plymouth Dock . .. 

Paradise 

Haddam 

Mount (Iermon. . . 

Adoration 

Birmingham 

Daniel 

Justification 

Prayer 

Mount Pleasant. .. 

Rockingham 

Mamro 

D. penciance 

Kingswood 

City Road 

Dcpeitdacce 



Slnhford. 
Ecdes. 
Winchester. 
Culoicstock. 

Kirjg Street. 

Norton. 

Barrett. 

Majesty. 

Wilton. 

St. John's. 

0:d German. 

Siloani. 

Narcissns. 

Kcliab. 

Homerton. 

Peck's Trump. 

King Street. 

Kendall. 

Rrootrsgrove. 

As-syluro. 

Oatlands. 

Dundee. 

Hothara. 

Troas. 

Arabia. 

Amaziah. 

Nrw Street. 

Ledbury. 

Gay's. 

Dresden. 

Attercliff. 

Stonefield. 

David. 

Warsaw. 

Eaton. 

Lennox. 

Melville. 

Derby. 

Tranquility. 

Devotion. 

Manchester. . 

Aaron. 

Wilts. 

Melcombe. 

Warrington. 

City Road. 

Josiah. 

Woodhoute Grove 

Assyluin. 



na 


if 






X 


- 


24 fi 


■239 


247 


•239 


248 


239 


249 


210 


250 


241 


2S1 


•242 


2S2 


242 


253 


•243 


264 


244 


■-'SS 


■245 


250 


216 


257 


247 


258 


247 


2"0 


248 


260 


249 


261 


250 


262 


251 


2o3 


252 


■261 


253 


266 


253 


206 


25.'! 


267 


251 


20S 


255 


269 


2'6 


270 


261 


271 


25S 


27 


2:9 


•273 


.60 


-74 


•201 


276 


262 


276 


263 


277 


264 


278 


265 


279 


267 


2f0 


268 


281 


269 


282 


270 


283 


271 


284 


272 


2P5 


273 


286 


274 


287 


275 


288 


276 


289 


377 


290 


279 


291 


280 


292 


•ifO 


293 


2=11 


294 


283 


295 


284 


296 


•85 


297 


285 



First Lines. 



My soul through. . . 
I'bly as thou, O . . . 
Blest be our ever- .. 
Great God I to me. .. 
Thy ceaseless, un-. .. 
Father of me, and. .. 
Come, Father, S.n.. 
Father, in whom. . . 
The day of Christ ... 
Spirit of Truth, es-. . 
Hail 1 Father, Son,. . 
Glory be to Cod on. . 
Jehovah, God the... 
Hail I holy, holy. . . 
Holy, holy, holy. . . 
Come, Father. Son. . 
A thousand orach s. . 
Father, bow wide... 
O all-creating God . . 
O may the power. .. 
Soldiers cf Christ . .. 
But, above all, lay. . 
In fellowship, alone. 
Surrounded by a. . . 
Equip me for the. . . 
O Almighty God of. 
Peace 1 doubting... 
Omnipotent Lo:d .. . 
O my old, my bo- . . . 
The Lord unto my. . 
Worrhip. and thanks 
Jesus, the conquer-. 
Who is this gigan-. . 
Shall I for fear of. .. 
The Lord is King-. . 
Are there rot in . . . 
But can it be, that. . 
O God, my hope-. . . 
To tbee, great God. . 
Come, Saviour, Je-. . 
Abraham, when . . . 
Omnipresent God .. . 
God, thy failhf. . . 
God of my life .... 
My God, if I may. . . 
Fondly my foolish.,. 
To the haven of ■ . . 
Jesus, my King, to.. 
JesKS, thou sovereign 
Come yo followers . 
The praying Spiiit. 
Shepherd Divine . . 



L. M. 
L. M. 
C. M. 
C. M. 
C. M. 
C. M. 
C. M. 
S. M. 
L. M. 
6-^8's. 
C. M. 
4— 7's. 
C. M. 
C. M. 
8 — 7's. 
6— 8's. 
C. M. 
C. M. 
S. M. 
S. M. 
S. M. 
S. M. 
S. M. 
6— 8's. 
8. M. 

7'8&6'8. 

6— 8's. 

10's & U'8. 

7's & 6's. 

G. M. 

p.m. ci.rv. 

S. M. 
7's & 6's. 

L. M. 

L. M. 
4 8's& 2-6's 
4-8's & 2-6's. 

6— 8's. 

6— 8's. 

L. M. 

L. M. 

e— 7's. 

4-8's &2'6's, 
L. M. 
L. M. 
L. M. 
7's & 6's. 
L. M. 
6— 8' 8. 
7's & 6's. 
R. M. 
C. M. 



Karnes of Suitable Tones. 



Newhaven • • . . • 

Effingham 

Axbridge 

Geneva 

Abridge 

Piety 

Oldbarn 

Falmouth 

Angel's Song. . .. 

Desire 

Abingdon 

Sicilian Mariners. 

Devizes 

A bridge ...... 

Narcissus 

Madrid 

Broomsgrove . . • 

Antioch 

Watchman . . . . 
Falcon Street . . . 

Bethel 

Christianity 

Bethel 

Barrett 

Reuben , 

Assylum 

Carey's , 

Hanover 

Clark's 

Hensbury 

Stephen 

Falcon Street . . . 

Clark's 

Duke Street 

Newcastle 

Ariel 

Rochdale 

Carey's 

Madrid 

Mamie 

Glastonbury 

Hotham 

St John's 

Manchester . . . . 
Winchester . . . . 

Wilton 

Dependanco. . ... 

Triumph 

Adman* 

Clark's' 

Cambridge 

St. Stephen'*.. . 



Nottaway 

Wareham 

Gainsborough 

Kendall 

Balerma. ........ 

Devizes 

Rose Hill 

Joy 

Stonefield i 

Eaton 

Trinity 

Aaron 

London. • 

Bedford , 

Alma 

Terab 

London 

Lydia 

Milton Abbey . . . , 

Reuben 

Bradley Church.. 

Shirland 

Falmouth 

Charity , 

Bradley Church.. 

City Road , 

Siloam 1 

Pottuguese Hymn 

Assylum.. 

Gabriel 

Wednesbury . . . , 

Harmony. 

Preparation 

Warrington . . . . 

Pern 

Praise 

Now S'reet . . . . 

Barrett 

Eaton 

Melcombe 

Duke Street 

ScviPe 

Harwood 

Tranquility 

Stonefield . . 

Justification,. . . 

City Road 

Duke Street 

Peck'-, Trumpet... 

City Road 

Narenza ....... 

Attercliffe. ..... 



Port Hope. 

Mel com baa 

Deritend. 

Howard, 

Oatlands. 

Dundee. 

Irish . 

Narenza. 

Newcastle, 

Adman. 

St. Ann's. 

Townhead. 

Oatlands. 

Nehemiah. 

Marty n. 

Plymouth Docfe. 

David's Harp. 

Oatlands. 

Essex. 

Sarah. 

Cranbrook. 

Mathias. 

Mansfield. 

Madrid. 

Btthel. 

Josiah. 

Brighton. 

Norton. 

Aniaziafa. 

St. Stephen'!. 

Cornhill. 
Assylum. 
Migdol. 

Daventry. 

St. John's. 

Harwood. 

Desire. 

Siloam. 

Daventry. 

Hebron. 

Savons. 

Rochdale. 

Newcastle. 

Newbaven. 

Port Hope. 

Assylum. 

Portugal. 

Love. 

Josiah. 

Shirland. 

SprowstotK 



GENERAL INDEX TO THE HYMNS AND TUNES. 



a 


| 

6 


First Lines. 


Metres. 


296 


986 


O wondrous power. .. 


6- 8' s. 


889 


2r7 


Jesus, thou bast. . . . 


7's & 6's. 


ami 


289 


Jesus, I fain would. . 


S. M. 


3 il 


289 


Jesus, inv strength. . 


S. M. 


m 


29] 


Lord, thai I may. . . 


4-7's. 


So-, 


!01 


Ah, when shall I. . . 


S. M. 


81H 


293 


Saviour, on me the. . 


4-8's * 2-6's. 


tm 


:94 


Gracious Redeemer.. 


S. M. 


808 


395 




6— 8's. 


so; 


196 


Cod of all grace.. . . 


C. M. 


■Of) 


2»: 


I want a principle . . 


C. M. 


son 


?98 


Help, Lord, to ... . 


4-8's & 2-6's. 


sin 


299 


Into a world of ruf-. 


C. M. 


811 


300 


Bid me of men be-. . 


S. M. 


812 


301 


Jesus, my Saviour. .. 


L. M. 


mm 


80 S 


Pierce, fill me with.. 


L. M. 


814 


303 


Hark, how the. . . . 


S. M. 


81 i 


SM 


Angers your march. . 


S. M. 


Slfl 


806 


kternal Power .... 


L. M. 


817 


306 


Ah, Lord, with • • . . 


L. M. 


MIS 


SUB 


A pharge to keep. ... 


S. M. 


818 


R 6 


Watch'dby the. . .. 


6— 8 - s. 


820 


301 


Be it my only wis-. . 


4-8's & 2-6's. 


831 


807 


SnmmoD'd my .... 


C. M. 


822 


308 


Servant of al>, to . . . 


C. M. 


823 


308 


God cf almighty. . . 


S. M. 


1 2 1 


809 


Forth in thy name. .. 


L. M. 


825 


310 


L'i I I come with. . . 


7'8&0's. 


m2o 


311 


Ciiptain of Israel's. . . 


6— 6's. 


:i?7 


an 


thou who earnest. . 


L. M. 


828 


3^2 


When quiet in my.. . 


6— 8's. 


8*0 


sua 


Thee, .lesBs, full.. . . 


C. M. 


•r»" 


313 


Saviour of all, what 


6— 8's. 


ifli 


Mil 


Thou, Lord, hast. . . 


C. M. 


88S 


R IS 


Master, I own thy. .. 


6 S's. 


88 1 


318 


Come on, my part- . . 


4-8's & 2-6's. 


88 1 


21? 


Lord, I adore thy. . . 


4-8's & 2-6's. 


386 


MIS 


Cast on the fidelity. . 


7's &6's. 


R3« 


M19 


Father, in the Name 


7's & 6's. 


88J 


819 


Eternal Beam of . . . . 


L. M. 


use 


890 


Thou Lamb of God. . 


L. M. 


389 


321 


O thou to whose . . . 


L. M. 


R40 


122 


The thing my God. . 


S. M. 


8«1 


32J 


O Jesus, let thy ... . 


L. M. 


8*2 


3.8 


Cod of eternal truth 


C. M. 


:m; 


1.4 


O for a heart to ... . 


C. M 


s» 


3 • 


Thou hidden love. ... 


6— 8's. 


3«S 


326 


Ye ransom'd sin . . . 


4-6's & 2-&'s. 


818 


12? (For ever here my . .. 


C. M. 


.i;" 


128 Jesus, my life!. . . . 


C. M. 


»*8 


329 Heavenly Father. . . 


8- 7'8. 


3 4j 


330 1 


Where the ancient.. . 


8-7's 



Names of Suitable Tunes. 



Pick's Trumpet. 
Kingswood . . . 

Zoal 

Dallas..., 

Ambleside 

Watchman . . . . 

St John's 

Falcon Street .. . 

Carey's 

Henshury 

Devices 

Latrobe 

Burford 

Slurland 

Mamre 

Windham 

Falcon Street.. . 
Bradley Church. 

Daisy Hill 

Warcham 

Reuben 

Zalmonah 

Ilarwood 

Bedford 

Broomsjrrove. . . . 

^hirland 

Duke Street. . .. 
Dependance. . . . 

Barrett 

Mamre 

Cleft of the Rock 

N ehemiah 

Terah 

London , 

Love 

Harwood , 

Latrobo 

Clark's . 

Assy lorn 

Hambirg 

Rockingham. . . 
Hannathon 

Aynhoe 

Old Hundredth. . 

Devizes 

Lydia . ._ . . . . 

Zauberfloto 

1.' urn ham 

Charmouth 

Devizes 

Sicilian Mariners. 
Culpinetock 



Eaton , 

A&sylum 

Bethel 

Egvpt 

Pilton 

Bradley Church. 

Harwood 

Mount Ephraim. 

Siloam 

Warwick 

Bedford , 

Willoughby. . . 

York , 

Dover 

Winchester .... 

Munich 

Watchman. ... 

Reuben 

Tranquility .... 
Rockingham . . , 

Sarah 

Terah 

New Street,. . . 

Warwick 

Charmouth .... 
Cambridge ..... 

Wilton 

City Road 

Brighton 

Dresden... 

Carey's 

Lanesborougb... . 
Peck's Trumpet. 

York 

Madrid 

Rochdale 

Willoughby. . . 
Dependance.. • . 
Kingswood ... 
Hannathon .... 
Wondrous Cross. . 
Nottaway . • • . • 
Spilsbury .... 

Muoieh 

Sheldon 

Peterborough . . 
Simeon's Joy . . 

Lennox 

Dundee , 

Messiah ..... 

Seville. ...... 

Martyn 



Ledbury 

Deiendance. 

Reuben. 

Gerar. 

Savona. 

Shirland. 

Praise. 

Sa-ah. 

Eaton. 

Sheldon. 

Dundee. 

Praise. 

Wilts. 

Mathias. 

Hamburg. 

Newington Green. 

Falmouth. 

Sarah. 

Warrington. 

Hebron. 

Falcon Street, 

Homerton. 

St. John's. 

Rose I dine. 

Barby. 

Bethel. 

Port Hope. 

Josiah. 

Plymouth Dock. 

Melcombe. 

Siloam. 

Peritend. 

Charity. 

Liverpool. 

Eaton. 

New Street. 

Praise. 

Josiah. 

Dependance. 

Dresden . 

Melbourne. 

Peru. 

Dover. 

Hamburg. 

Gabriel. 

Carr's Lane. 

Love. 

Majesty. 

Abridge. 

Rose Lane. 

Townhead. 

Seville. 



J 


4= 






K 


a, 


350 


331 


M51 


S32 


369 


334 


353 


334 


351 


336 


355 


337 


SS6 


539 


357 


340 


35= 


311 


359 


343 


3611 


313 


361 


345 


882 


346 


363 


348 


364 


3:8 


365 


349 


36fi 


351 


367 


352 


368 


353 


369 


354 


370 


351 


371 


355 


372 


356 


373 


366 


374 


358 


375 


359 


376 


360 


177 


361 


878 


361 


379 


362 


380 


363 


3S1 


365 


3S2 


365 


3P3 


367 


384 


367 


385 


368 


386 


369 


387 


370 


3SS 


371 


889 


372 


390 


373 


391 


374 


39J 


374 


393 


376 


391 


376 


395 


376 


398 


377 


39? 


378 


398 


379 


3i)9 


3r0 


too 


380 


401 


351 



First Lines. 

Holy Lamb, who. . . 
Como, Holy Ghost . . 
Jesus, thou art our. . 
O Jesu, source of . 
Ever fainting with. .. 
Jesu, shall I never.. . 
Lord. I believe thy. . 
Jesus, the Life, the. . 
Open, Lord, my. ... 

God of Israel's 

Father cf Jesus. . . . 
My God I I know. . . 
Be it according to. .. 
What I never speak. . 
Jesus, the gift di-. .. 

Cod of my salva-. . 

1 soon shall hear. . . 
O come, and dwell. . . 
Father, see this li-. . 

God, most merci- . 
Deepen the wonnds. . 
What now is my- . .. 
Give mo the en- . . . 
Jesu, thou bound. . . 
Come, Holy Ghost . . 
Saviour from sin. . . 

1 want the spirit. . . 
Father of everlast-. . 
What shall I do. . . . 
O Love, I languish. . 
Prisoners of hope. .. 
When, my Saviour. . 

great Mour.tain. ... 
Who hath slighted.. 

1 know that my Re-. 
Love Divine, all ... 
,'rni of the Lord a- . 
Prisoners of hope, a- 
O that my load of .. . 
O Jesus, at thy .... 
Since the Son hath. . 
God of all power. • . 
Father, supply my . . 
Holy, and true, and. 
O C< d <f our fore-. . 
O God, to whom, . .. 
O Thou, whom once 
Jesu, thy far ex- . . . 
Saviour of the Sin-.. 
Light of Life, se-. . . 
Jesus comes with... 
All things are pes- . . 



4— 7's. 

6— S'b. 2nd, 

2-U's & 4-7's 

6 — 8'n. 2nd. 

7's ft 6'b. 

4— 7's. 

C. M. 

C. M. 
7's. & 6's. 
7's. & 6's. 

C. M. 

C. M. 

C. M. 

L. M. 

6— 8's. 
1— 8'n. 2nd. 
6 — 8's. 2nd. 

S. M. 
7's &6's. 

L. M. 

C. M. 

8— 8's. 
7's& 6's. 

6— 8's. 

6— 8'B. 

6— 8's. 

e— S's. 
<5— 43's. 2nd. 

6— S's. 

6— S's. 

6— 8's. 

4— 7's. 
7's & 6's. 
7's & 6's, 

C. M. 
8's & 7's. 

L. M. 

S. M. 

L. M. 

C. M. 

6— 7's. 

L. M. 

L. M. 

L. M. 

6— S's. 

L. M. 

L. M. 

L. M. 

4— 7's. 

8— 7's. 

4— 7's. 

6- 8's. 



Names of Suitable Tunes. 



Aaron 

Brighton 

Irene 

Gay's. . 

Clark's 

Alma, 

Wear Well 

Abingdon 

Dependants 

''reparation 

Charmouth 

Ar.tioch 

Suffolk 

u incbester . . . . 

Admah 

Martyn's Lane . . 

Gay's 

Watchman .... 
Dependance. . . . 
Angel's Song .. . 

Axbridge 

Carnaby 

Josiah 

Caslleton 

Ledburyi 

W hitsuntide . . . 

Barrett 

Monmouth .... 

Siloam 

Brighton 

Ziuberflote 

Sicilian Mariners. 

Clark's 

Preparation. . . . 

Messiah 

Vienna. • 

(>:dham 

Ipswich 

Old Hundred . . 

Arlington 

Eaton 

Daisy Hill 

Stontfield 

Rockingham . . . 

Admah 

Adoration .' > 

Windham 

Nottaway 

Mount Hermon.. 

Alma 

Townhead 

Pi- mouth Dock. . 



Theodora 

Monmouth .... 

Dedication 

Martyn's Lane.. . 

Assy htm 

Mount Hermon... 

West's 

David's Harp . . . 

Clark's 

City Road 

Camberwcll. . . . 

Barby 

Lydia. . ., 

Rothwell 

Barrett 

New Court 

Martyn's Lane . . 
Bradley Church.. . 

City Road 

Justification .... 

Trinity 

Goshen 

Dependance.. . . 

Love 

Eaton 

.lentil ........ 

Admah 

Brighton 

Cleft of the Rock. 

Love 

Siloam 

Aaron 

Kingswood 

Assylum 

Trinity 

Queerborough . . 

Port Hopo 

S hre wsbury .... 

Warehani 

West's 

Damascus 

Devotior 

Melcombe 

Daventry 

Eaton 

Atlantic 

Munich 

Duko Street.. . .. 

Prayer 

Seville 

Aaron 

Eaton 



Pilton 

New Court. 

Eccles. 

New Court. 

Dependance. 

Pilton. 

Lydia. 

Rose Hill. 

A6sylum. 

Josiah. 

Dundee 

West' 8. 

Oallands. 

Sartdbach. 

Carey's. 

Monmouth. 

Didsbury. 

Reuben. .. 

Josiah. 

Port Hope. 

Deritcnd. 

Albion. 

Clark's. 

Carey's. 

Madrid. 

Charity. 

Desire. 

Gay's. 

Brighton. 

Plymouth Dock. 

Desire. 

Pilton. 

Josiah. 

1 ity Road. 

Dundee- 

Romanza. 

Warrington. 

Falcon Street. 

Windham. 

Trinity. 

tVellspring. 

Effingham. 

Daniel. 

Port Hope. 

Mad tirl. 

Duke Street. 

tiethsemai.e. 

Portugal. 

Savona. 

NardssUB. 

Pilton. 

Charity. 



GENERAL INDEX TO THE HYMNS AND TUNES, 



i. 

a 

402 
403 
40» 
400 
406 
40? 
408 
409 
410 
411 
412 
413 
4H 
415 
416 
417 
413 
4 9 
4-26 
421 
422 
423 
424 
425 
430 
427 
428 
429 
43» 
431 
432 
433 
434 
435 
436 
437 
438 
409 
440 
441 
442 
443 
441 
44a 
446 
44? 
44- 
449 
450 
451 
452 
453 



First Linea. 



O might I this mo-. . 
Lord, I believe a . . . 
O glorious hope of . . 

joyful sound of... 
What )■ oar oalling'a. 
None Is like Jcsbu. . 
Ho wills, that I 

fe-us, my Lord, I... 
Father, I dare be-. .. 
Why not now, my . . 
Thott God that an- . . 
Once thou didst .... 
Now, ev'n now, I . .. 

Icons batb died that. 

1 ask the gift of ... . 
'Come, O my God. . . 
God I who did'sl so. . 
Quicken'd with our. . 
Ye faithful souls. . . 
I the goud fight .... 
Let not the wise his . 
Who can worthily. .. 
Us who climb thy. .. 
The voice that. . . . 
Lord, in th" strength 
God of all-redeem-. . 
Let him to whom. .. 
Behold the servant. . 
Father, Son, and. . . 
O God, what offer-.. 
Fatbe , into thy . . . 
Give me the faith. . . 
Jesus, all-atoning... 
Father, to thee my. . 
Jesu, my Truth, my. 
() Cod, my God,.. . . 
O God of Peace and . 
Thy power and sav-.. 
Thou, Jesu, thou . .. 
Let God who com- . . 
Our earth we now. . . 
Sun of unclouded.. . 
Lord, over all, if . . . 
U come thou ra !i- . . 
Jesu, the word of .. . 
Messiah, Prince of. .. 
Prince of universal. . 
Happy day of union. 
Messiah, full of ... . 
Father of faithful... 
Almighty God of. . . 
dinners the call .... 



Metrra. 



7's 4 6's. 

C. M. 

4-8's k 2-6's. 

C. M. 

C. M. 

?'s & 6's. 

L. M. 

C. M. 

S. M. 

«— 7's. 

L. M. 

7's k 6's. 

7's k 6's. 

C. M. 

C. M. 

CM. 

7's * 6's. 

L. M 

L. M. 

S. M. . 

L. M. 

7's 4 6's. 

7's b 6's. 

L. M. 

S. M. 

8— 7's. 

C. M. 

6— 8's. 

6- 7's. 

6-8's. 

C. M. 

6— S's. 

4— 7's. 

C. M. 

S. M. 

L. M. 

6— 8's. 2nd. 

6— 8's. 2nd. 

6— 8's. 2nd. 

6— S's. 

6— 8's. 

6— S's. 

8-S's. 

6— S's. 

C. M. 

S. M. 

?'s b 6's. 

7's k 6's. 

8. M. 

6-8's. 

S. M. 

3. M. 



Names of Suitable Tunes. 



Dependance... ,. , 

Bolton 

Praiso •••.••., 
Broorusgrove . . ., 

Antioch 

Josiah 

Daisy Hill 

Sheldon 

Shirland , 

Eaton 

Old Hundred. . , 

Dcpendauce 

Clark's 

Oatlands ...... 

Suffolk 

Abingdon 

Josiah 

Old Hundred. . . 
Tranquility .... 

Sptlsby 

Job 

Clark's 

Assylum ...... 

Melcombe . • . . . 
Mount Epbraim.. 
Sicilian Mariners 

Hecsbury 

Plymouth Dock . . 
Wellspring . . . . 

Barrett 

Martyrdom 

Madrid 

Almah ....... 

Rose Lane 

Shirland 

Warrington. . . . 

New Court 

Gay's 

Martya's Lane. . 
Adman. ........ 

Mad id ....... 

Peck's Trumpet . 

Siloam 

Charity 

Warwick .••••., 

Sacrifice 

Clark's 

Assylum 

Sarah 

Madrid 

Watchman . . . . 
Saran 



( *ity Road 

Lanesborough. . . . 

Harwood 

Warwick 

Henshnry 

City Road 

Triumph 

Suffolk 

Cambridge 

Linton Green .... 

Waroham 

City Road 

Assylum 

Piety 

Sheldon 

London. ....... 

Clark's 

Winchester 

Wexford 

Bethel 

Warrington ...... 

Josiah. 

Clark's 

Morning Hymn.... 
Bradley Church .. . 

Hothani . 

Broomsgrovo .... 

Desire 

Eglon 

Carey's 

Nohemiah 

Brighton ....... 

Narcissus 

Keliah 

Dallas 

Wilton 

Didsbury. • • 

Monmouth 

Gay's 

Ca at I c ton 

Ledbury 

Tcrah 

Barrett 

i'lymouth Dock.. . 

Prescott 

J'-y 

Kingswood. . • • . . 

Cily Road 

Bethel 

Eaton 

Mount Ephraim. .. 
'.teuton 



Kiitgswood. 

Suffolk. 

Rochdale. 

OatlaDds. 

Auercliffe. 

Clark's. 

Roth well. 

David's Harp. 

Sarah. 

Wellspring. 

Storeficld. 

Josiah. 

City Road. 

West's. 

Devises. 

Wear well. . 

Depondance. 

Justification. 

Newcastle. 

Cranbrook. 

Newhaven. 

Dependance. 

Josiah. 

Federal Street. 

Milton Abbey. 

Aaron. 

Arlington. 

Eaton. 

Mount Calvary. 

Homerton. 

Auburn. 

Siloaro. 

Anxiety. 

Charmoufh. 

Egypt. 

Perseverance. 

Monmouth. 

Now Court. 

Monmouth . 

Love. 

Charity. 

Zahronah. 

Eaton. 

Brighton. 

SprowBton. 

Mansfield. 

Josiah. 

Clark's. 

Bradley Church. 

Ad mail. 

Essex. 

VY iikaworth. 





i 

a. 


First Lines. 


Metres. 


45 4 


425 


God of unspotted . . . 


L. M. 


tea 


426 


O let us our own. . . 


L. M. 


456 


426 


Father, if justly . . . 


L. M. 


457 


127 


On all the earth.. . . 


L. M. 


168 


428 


Author of faith, we . 


L. M. 


159 


12- 


Sberherd of Israel. . 


s. m. 


■160 


429 


Uod of all power and 


S. M. 


■161 


4:i0 


Saviour, to thee we. . 


6-8'a. 


402 


431 


O let the prisoners'. . 


L. M. 


468 


m 


Lamb of God, who . . 


6— 7's. 


461 


433 


Jegus, from thy .... 


7's & 6's. 


485 


4;i3 


Sovereign of all I. . . 


C. M. 


466 


485 


A Nation God de-. .. 


4-8's k 2-8's. 


467 


135 


Father of all by . . . 


L. M. 


40P 


430 


God, only wife, Al- . 


CM. 


409 


437 


Father of Lights 1 . . . 


CM. 


470 


439 


Vlasler supreme, I . . 
How shall I walk . .. 


L. M. 


471 


440 


4-8's & 2-6's. 


472 


441 


I and my house wili . 


4-8's & 2-6's. 


478 


142 


Come, Father, Son,. . 


6— S's. 


474 


443 


Captain of our sal-. . 


6— S's. 


475 


141 


But who sufficient.. . 


6— S's. 


476 


445 


Come, Father, Son,.. 


L. H. 


477 


440 


Father, Son, and. . . 


7's k 6's. 


478 


147 


And are we yet alive 


S. M. 


479 


447 


Peace be on this. . .. 


8— 7's. 


ISO 


lis 


Glory be to God a. .. 


8— 7's. 


181 


149 


All thanks to the. ... 


10'sfe IPs. 


482 


150 


Saviour of sinful. • • 


S. M. 


4P3 


161 


Jesu, to thee our. . . 


6— 8's. 


184 


452 


Appointed by Thee. . 


10's fell's. 


1S5 


453 


Jesu, wo look to. . .. 


S. M. 


4R6 


453 


See, Jesus, thy dis-. . 


C. M. 


487 


154 


Two are better far. . 


7's k 6's. 


4m 


425 


How happy are we,. . 


P. M. CI. HI. 


439 


450 


How good and pi*. .. 


6-8's, 2nd 


490 


457 


Behold how good a. . 


1-6's k 2-8's. 


401 


459 


Come away to the . . 


P. M. CI. Hi. 


4*2 


400 


What shall we offer . 


L. M. 


493 


401 


The people that in. .. 


6— 8's. 


494 


462 


Lol God is here!. . . 


6— 8's. 


40.1 


403 


Come, let us arise. .. 


P. VI. CI. I . 


190 


104 


The earth is the.. . . 


10's 4 11' 8. 


19? 


464 


Come, all whoe'er. .. 


4-0'B k 2-8's, 


498 


105 


Come, let us anew. .. 


P. M. CI. I. 


499 


400 


Home, letusaseend. 


P.M. CI. III. 


500 


46? 


All praise to our ... 


C. M. 


501 


46f 


Jesus, great Shep-. .. 


CM. 


502 


409 


Come, thou Omni-. . 


C. M. 


503 


470 


Try us O God and. .. 


CM. 


504 


47(1 


fesus, united by. . . 


C. M. 


500 


iU 


Unchangeable, Al- . . 


L. M. 



Namei of Suitable Tunes. 



Wareham 

Evening Hymn . . . 

Canada , 

Birmingham. . . 

Daisy Hill 

Cornhill , 

Aynhoe 

Siloam 

Wareham 

Eglon 

Assylum ... . . 
St. Ann's ...... 

Harwood 

Melcombe. 

Bedford 

Antioah 

Portugal 

St. John's... . ... 

New Street 

Whitsuntide . . . 
Luther's Hymn . . 
Carey's ........ 

Wakefield 

Clark's 

Aynhoe ••••••.. 

Uotham 

Narcissus. ..... 

Hanover 

Falcon Street . . . 

Siloam 

Portuguese Hymn 

Reuben 

Sprouston Lodge. 
Dependance. . . . 

Paradise 

Brighton 

St. Swithin 

Paradise 

Adoration 

Madrid 

Luther's Hymn. .. 

Dcrbe 

Portuguese Hymn 
Burnham ....... 

Holion 

Paradise 

Delight 

Bishopsthorpe . . 
St. Ann's. . .. . . 

Barby 

Antioch 

Federal Street. . . 



Melcombe . . . . . 

Portugal.... . . 

Newcastle .... 

Adoration .... 

Loughborough. 

Isaiah 

Cerar , 

Barrett 

Windham 

Linton Green . . 
City Road .... 
Martyrdom. .... 
New Street 

Daisy Hill 

Rose Lane. . . . 

Trinity 

Pom 

Harwood ...... 

Latrobe 

Desire.... . .. . . 

Plymouth Dock. . 
Cleft of the Rock 

Peru 

Assylum 

Bethel 

Seville 

Alma 

Ring Street.. ..' 

Mansfield 

Brighton 

Norton 

Sarah" 

Lydia ....... 

City Road 

Liberia 

Gay's 

Warsaw 

Liberia 

Devotion 

Eaton 

Plymouth Dock. 

Holton 

King Street. . . . 

Warsaw 

Derbe 

Liberia ....... 

Keliah 

St. Stephen's .. . 

Irish 

Abridge .•••... 
Bolton ....... 

Wareham ..... 



Mamre. 

Warrington. 

Effingham. 

Warrington. 

Duke Street. 

Mathias. 

Sandfortb. 

Carey's. 

Hebron. 

Safety. 

Josiah. 

Arlington . 

St. John's. 

Rockingham. 

Sheldon. 

West's. 

Mamre. 

Ariel. 

Praise. 

Eaton. 

Madrid. 

Love. 

Pert Hope. 

Kiitgswood. 

Sarah. 

Ambleside. 

German Hyma. 

Harmony. 

Mathias. 

Simeon's Joy. 

King Street. 

Mount Ephraim, 

Oatlands. 

Josiah. 

New Court. 
Waterstock. 

Newcastle. 

Terah. 

Carey's. 

Troaa. 

HaddamT 
Troaa. 

Mount Pleasant 

Rose Lace. 

Dundee. 

Hensbury. 

Lydia. 

Old Hundred, 



GENERAL INDEX TO THE HYMNS AND TUNES. 



5. 

K 

606 

607 

608 

609 

610 

611 

612 

613 

6H 

615 

616 

617 

618 

619 

620 

621 

622 

623 

621 

625 

626 

627 

628 

5:9 

6% 

631 

632 

633 

631 

635 

63S 

637 

638 

639 

640 

64 

542 

643 

644 

645 

646 

647 

649 

449 

650 

661 

662 

653 

954 

655 

656 

657 



Flnt Line*. 



Father of our dying. 
Saviour of all to ... . 
God of Love that . .. 
Jesus, Lord, we . . . 
Thou God of truth. .. 
Forgive us for thy. .. 
Centre of our hopes. 
Jesus, with kindest. . 
Father, at thy foot-. . 
Father, Son, and Sp- 
Other ground can. .. 
Christ our head. ... 
Christ, from whom. . 
Come, and let us . . . 
Come, thou high. • • 
Let ua join, 'tie. . . . 
Prisoners of a glo-. . 
thou, our A us-. . . 
Our friendship . . . . 
Jesu, thou great. . .. 
Except the Lord . . . 
Come, wisdom . . . . . 
O Saviour, east a . . . 
Holy Lamb, who. .. . 
Come, thou all-in 
Christ, whose glory . 
Come, let us use. . . 
Lord, we thy will... 
Blest be the dear. . . 
And lot our bodies . . 
Jesus, accept the ... 
God of all consola-. . 
Jesus, soft harmo- . . 
Lift up your hearts . 
Before Jehovah's. . . . 
Lord of the worlds. . 
Lord and God of . . . 
Being ot Beings. ... 
The Lord of Sab-. . . 
O thou eternal Tic- . 
Come, all who truly. 
Come, thou ever-. .. . 
Lamb of God, whose 

Jesu, at whose 

Come, Holy Ohost. . . 
Victim. Divine, thy . 
Jesus drinks the. .. . 
He dies 1 the Friend . 
Our Lord is risen. . . 
Come, desire of na- .' 
To the hills I lift. .. 
Ye Servants of God . 



Metres. 



7's k 6's. 

L. M. 

4 -7's. 

4-7's. 
4-6's k 2-'8s. 

6— 8's. 

6— re. 

6— 8's. 

4-7's. 

8— 7'i. 

8-7's. 

4— 7's. 

4— 7's. 

8-7's. 

8— 7's. 

8— Ts. 

•-7's. 

L. M. 
6— 8's. 2nd. 

6— 8's. 
4-8's k 2-«'s. 
4-8's k 2-6's 
4-8's k 2-6's. 

8-7's. 
8's * 7's. 
7's k 6's. 

C. M. 
4-6's A 2-8's. 

C. M. 

S. M. 
4-6's & 2-8's. 

CM. 

8— 7's. 

C. M. 

L. H. 
4-6*8 At 2-8's. 

4— 7's. 

C. M. 

C. M. 

6— 8's. 

S. M. 
8's k 7'i. 
7's k 6'b. 

C. M. 

C. M. 

6— 8's. 
7's & 6's. 

L. 11. 

L. M. 

4-7's. 
7's & 6's. 
10's & ll's. 



Names of Suitable Tuaes. 



Josiah . 

Haydn 

German Hymn . . 

Alma 

Remembrance. . 
Admah . • • • . • , 

Eglon 

Carey's ....... 

Feversham .... 

Hot ham 

Savona ....... 1 

Aaron 

Alma. ........ 

German Hymn.. 

Narcissus 

Hotham 

Seville 

Old Hundred.. . . 

Brighton 

Barrett 

Harwood • • • • . 

Rochdale.. .... 

Rochdale .••*.< 

Seville 

Romania . 

Assy Ism ...... 

Devises . 

Reward ....... 

Lydia 

Bradley Church. 
Remembrance. . 
Martyrdom. .... 

Mar ty n ........ 

Arlington. .... 

Old Hundred. . . 
Remembrance. . . 

Pilton 

Abingdon,. ..... 

St. Matthews. . . . 

Siloam Cleft of tho Rock. 

Sarah 

Ronauza 

Clark's 

York 

Abingdon...... . • 

Carey's 

Dcpendance 

Hamburg. ...... 

Oldham 

Narci-sus. ...... 

City Road 

Portuguese Hymn. 



Assylum 

Horning Hymn. .. 

Feversham 

Narcissus 

Lutman. 

Desire 

Mount Calvary. . 

Siloam 

To«rnhead 

Easter , 

Pilton 

German Hymn . . 
Narciisus. ..... 

Sevillo 

Easter ....•••. 

Marty n, 

Pilton; 

Rockingham 

New Court 

Siloam 

St. John's.. .... 

Praise ........ 

Willoughby 

Sicilian Mariners. 
Queenbo rough. . . 

Dependance 

London ....... 

St. Swithin 

West's 

Mansfield 

Warsaw 

Oatlands. ...... 

Seville 

Warwick , 

Oldham 

Burnham , 

Narcissus 

Piety 

Trinity 



Reuben . 

Vienna 

Assylum 

Spruce Street . . . 
St. Stephen's . . . 
Luther's Hymn .. 

Preparation 

Federal Street. . . 
Port Hope ..... 
Sicilian Mariners. 
Dependance . . . . 
Hanover ...... 



Clark's. 

Warrington. 

Mount Hermon. 

Sicilian Mariners. 

Murray. 

Charity 

Venice. „ 

Zauberflote. 

Sicilian Mariners. 

Martyn. 

Prayer. 

Melville. 

Theodora. 

Anxiety. 

Culpinstock. 

Towuhead. 

Hount Hermon. 

Mamre. 

Martin's Lane. 

Love. 

Now Street. 

Ariel. 

Latrobe. 

Narcissus. 

Advent. 

Josiah. 

St. Mathews. 

Murray. 

Suffolk. 

Shrewsbury. 

Lennox. 

Ephesua. 

Hotham. 

Attercliffe. 

Wareham. 

Warsaw. 

Townhead. 

St. Steven's. 

Toronto. 

Parey's. 

Christianity. 

Northampton. 

Woodhouse Grove, 

London. 

Dundee. 

Siloam. 

Assylum. 

Melcombe. 

Duke Street. 

Alma. 

Josiah. 

King Street. 





J 












a 


a, 




558 


519 




559 


520 




660 


620 




561 


525 




562 


626 




563 


627 




564 


5'26 




565 


529 




066 


530 




567 


530 




568 


531 




569 


632 




670 


533 




571 


533 




572 


5S4 




573 


535 




574 


535 




67ft 


536 




576 


537 




577 


538 




578 


539 




579 


539 




580 


540 




681 


540 




5S2 


541 




583 


542 




584 


642 




585 


543 




586 


544 




687 


544 




588 


545 




569 


545 




590 


646 




591 


547 




592 


547 




593 


548 




591 


549 




695 


550 




596 


551 




597 


562 




598 


55'2 




699 


553 




CfO 


554 




601 


554 




H02 


555 




6»3 


566 




6I>4 


557 




605 


55 1 




606 


558 




607 


559 




608 


-.6(1 




609 


660 



First Lines. 

Come, Lord, from . . 
God moves in a .... 
Lord, dismiss ns . . • 
Hall. Father, whose. 
Hail, co-essential . .. 
Great is our redeem- 
Infinite God, to .... 
Messiah, joy of. . • . 
Saviour, we now. . • 
The spacious 6rm- . . 
God is a name my.. . 
The Lord Jehovah . . 
High in the hea-. . . 
With glory clad, with 
The earth and all. .. 
Come, sound his. • • 
How lovely are thy . 
Who Jesus our ex- . . 
My soul inspir'd. • • . 
Great God, attend... 
Sweet is the work. .. 
Great is the Lord . . . 
Great God, this hal-. 
Welcome, sweet day. 
Lord of the Sabbath. 
Again our weekly. .. 
O render thanks ... 
Far as creation's . . . 
Eternal depth of . . . 
Let every tongue . . . 
This, this is the God. 
Sweet is the me- . . . 
In all my vast con-. . 
O that I could in-... 
When all thy mer-. . 
The Lord, how won-. 
Father of earth and . 
Plunged in a gulf. .. 
Who can describe . .. 
Great God, indulge. . 
My heart is fix'd. . . . 
Begin, my soul,. ... 
Jesus, thou ever . • • 
Hail, God the Son. .. 
Hark, the herald . . . 
Celebrate Immanu- . . 
Sing, all ia h'even. . 

To us a Child of 

Light of those whose 
Glory be to God on . . 
Stupendous height . 
Let earth and hea-. . 



Metres. 



P.M. CI. II. 

C. M. 
8's & 7's. 

i'. M. 

2-8's k 4-7's 

7's 4 6's. 

6-8's. 

6— 8's. 

«-*'*. 

L. M. 

L. M. 

4-6's k 2-8's. 

L. M. 

L. M. 

L. M. 

S. M. 
6-8's. 2nd. 

«— 8's. 

6— 8's. 

L. M. 

L. M. 

S. M. 

e-8's. 

8. M. 
L. M. 
L. M. 
L. M. 

6— 8's. 

L. M. 

C. M. 

«-8's. 

C. M. 

C. M. 
4-8's. k 2-6's 

C. M. 

L. M. 
2-6'.« k 4-7's. 

C. M. 

L. M. 

L. M. 

6— 8's. 

C. M. 

L. H. 

C. M. 

4-7's. 
7's k 6's. 

L. M. 

L. M. 

8— 7's. 
7's k 6's. 

6— 8's. 
4-0's & 2-8's 



Names of Suitable Tunes. 



Harwich 

Camberwell.. . . 

Dismission 

St. Ann's 

Irene 

Clark 

Terah 

Simeon's Joy . . . 
Whitsontide . . . 
Warrington • . . 

Job..? 

Haddam 

Daisy Hill 

Warrington 

Alfreton 

Cranhrook 

Didsbury 

Siloam. • • 

Admah . 

Adoration ..... 

Daventry 

Dover 

Luther's Hymn . . 
Milton Abbey. . . 
Rockingham . . . 

SteneEeld 

Birmingham .... 

Brighton 

Rothwell 

Devizes 

Carnaby 

Abridge 

iledford 

St. John's 

Abridge.. 

Daniel 

Irene 

Warwick 

Wareham 

Warrington .... 
Cleft of the Rock. 
St. Paneras. . . . 

Stonefield 

Sheldon 

Sicilian Mariners . 

Clark's 

Wareham 

Duke Street 

Vienna 

Preparation 

Plymouth Dock.. 
Burnbatn ...... 



Rapture 

Dent end 

Romanza 

Irish, 

Dedication . .. • , 
City Road .... 
Zal'monah . . . . 

Ledl-ury 

Carey's 

Wilton 

Justification. . • 

Burnham 

Evening Dymn. 

Port Hopo 

Atlantic 

Falcon Street . . 
Martyn's Lane • 

Charity 

Carey's 

Peru 

Haydn 

Falcon Street . . 
Plymouth Dock . 
Bradley Chnrch . 
Morning Hymu . 

Dresden 

Nottaway . . . . 
Plymouth Dock . 

Sandbach 

Irish 

Goshen 

Trinity 

Rose Lane. . .. 

Latrobe 

Carr's Lane.. . . 

Portugal 

Dedication. . . . 
Wear Well . . 

Melcombe 

Tranquility . . . 

Carey's 

Wilt 

Wiltin 

-uffolk 

Narcissus 

Assylum 

War'injrton . . . 
Admiration . . . . 
Queen.-borotigh . 

Assylum 

Brighton 

Reward 



Old German. 
York. 

Vienna. 

Bristol. 

Eceles. 

Josiah. 

Homerton. 

Desire. 

Eaton. 

Hannathon. 

Duke Street. 

Majesty. 

Effingham. 

Stonefield. 

L.iughborougb. 

Mansfield. 

Brighton. 

Barrett. 

Desire. 

Old Hundred. 

Warrington. 

Shirlaud. 

Desire. 

Bethel. 

Daventry. 

Vlamre- 

Port Hope. 

Terah. 

Wakefield. 

Dundee. 

David 

Wilts. 

St. Stephen's. 

Harwood. 

David's Harp. 

Wakefield. 

Eceles. 

Hensbury. 

Hinninghara. 

Duke Street. 

Desire. 

St. Stephen. 

Port Mope. 

Wilts. 

Theodors. 

Dependance. 

Justification. 

Angel's Song, 

Jesse. 

Josiah. 

Admah. 

Lennox. 



GENERAL INDEX TO THE HYMNS AND TUNES. 



ft 


£ 
£61 


Firmt Linn. 


Metres. 
6 — 8's. '2nd 


616 


O God of gods, la. .. 


611 


02 


Jesus, thee [by .... 


7*s &C's. 


612 


563 


Behold, the blind... 


L. M. 


613 


064 


From whence these . 


CM. 


1 14 


065 


'Tig Onish'd 1 The . .. 


L. M. 


615 


MM 


Not all the blood... 


S. M. 


616 


560 


>11 ye that paei by .. 


P. M. CI. 11 


617 


568 


Thou very Paschal . . 


S. M. 


618 


508 


Thfe, this is He 


S. M. 


619 


509 


O thou whose offer.. 


L. M. 


620 


509 


Behold the sure. . . . 


C. M. 


021 


570 


God of unexampled.. 


7'8&6'B. 


022 


571 


Whom Jesu's blood. 


C. M. 


0.3 


5:i 


When I surrey the . . 


L. M. 


624 


6.2 


Rock of Ages, cleft. . 


6— 7's. 


620 


672 


Sinners, rejoice... . • 


6— 8's. 


626 


674 


Jesus, to tbee we. . . 


2-6's & 4-7*8. 


627 


016 


Fntex'd the holy.. . . 


6— 8's. 


628 


Sit 


Ye humble souls. . . 


C. M. 


620 


570 


Chris t, the Lor<", is. . 


4— 7's. 


630 


ill 


Hail the day that . . . 


4— 7's. 


631 


6.8 


Sons of God, trium-. 


4— T: 


63'2 


67S 


Father, God, we • . . 


7's k 6's. 


633 


bVi 


Hail, thou once. . .. 


8's & 7's. 


634 


.30 


What equal honours 


L. M. 


63a 


081 


God is gone up on.. 


4-6's &2-8's. 


636 


6S2 


Great God, whose... 


L. M. 


637 


oSU 


My heart and voice. . 


P.M. CI. V. 


638 


>S4 


Jerusalem divine. . . 


P.M. Cl.V. 


639 


„d6 


My heart is fall of. . . 


6— 8's. 


640 


Obo 


Come, let us join our 


C. M. 


64 1 


oiO 


Join all the glorious 


4-6's & 2-8*8. 


612 


ufcb 


Christ, the true. ... 


8— 7's. 


643 


5-9 


Come, O thou Pro-. . 


6— 6's. 


641 


oi.ll 


Coming through ... 


7's k 6's. 


645 


MK) 


Blow ye the trum-. .. 


4-6's & 2 8's. 


646 


691 


With joy we medi- , . 


C. M. 


647 


692 


O Son of Righteous-. 


CM. 


618 


013 


Let everlasting glo-.. 


L. M. 


649 


694 


Hail, Holy Ghost,... 


CM. 


630 


694 


Branch of Jesrc'e . .. 


7's Sl 8's. 


661 


o9o 


Sovereign of all the . 


C M. 


652 


695 


Come, Holy Spirit,. .. 


C M. 


653 


590 


Come, Holy Spirit. .. 


L. M. 


654 


697 


Creator, Spirit, by. .. 


6— 8's. 


655 


59b 


Jesus, we on the ... 


L. M. 


656 


««9 


Why should the. . • 


C. M. 


657 


MM 


Eternal Spirit, come 


2-6's k 4-7's. 


658 


ooo 


Father, glorify thy. . 
O thou that hear'st. . 


6— 7's. 


6i9 


0U1 


L. M. 


660 


602 


How sad our state. .. 


C. M. 


661 


00. 


O thou who bast re-. 


4-8'B &-2-6'j. 



Names of Suitable Tunes. 



New Court 

Dependance . • • • . • 

Old Hundred 

St. Ann's 

Old Bundred 

Bradley Church... 

Old German 

Sarah 

Mansfield 

Wareham 

St Ann's . 

City Road 

St. Stephen's . . . . 
Winchester . . . . . 

Eglon 

Peck's Trumpet.. . 
Kingswood 
Luther's Hymn .. 
David's Harp . . . . 

Eas er 

Alma 

Narcissus 

Claik's 

Vienna 

Daventry. ...... 

Murray 

Job 

Gal. lee 

Dalston , 

Love 

Antlocb . 

Warsaw ....... 

Sicilian Mariners. 
Plymouth Dock . . 

Clark's 

Murray 

St. Mary's ...... 

Devizes , 

Admiration .... 

Abridge . . 

Assylum 

St. Ann's ...... 

Toronto 

Stonefield. ...... 

SilOMn 

Rockingham. . .. 

Hensbury 

Irene 

Marsdon 

Gethsemane 

Martyrdom 

Harwood, ...... 



Monmouth .... 
Josiah. •••••. 
Rockingham . . . 

Irish 

Windham. . . . ., 

Cornhill 

Harwich ...... 

Cambridge 

Cranbrook 

Angel's Song. . . 

Warwick 

AtsjTum 

Abridge 

Wondrous Cross. 

Wellspring 

Madrid 

Dedication 

Castleton ...... 

Mount Pleasant. 
German Hymn. . 

Pilton 

Aaron 

City 1. cad 

Romanza.. . ... . 

Mcrning Hymn . 
Burnham ...... 

Winchester.. . . . 

Repose ....... 

Wigan 

Madrid 

Harmonia 

Burnham. ..... 

liotham ...... 

Desire 

Kingswood . . .. 
Burnham ...... . 

Walsal 

Dundee 

Stonefield . • . . . 

Abingdon 

Dependance. . .. 
Charmouth . . • • 

Atterclifl'e 

Wakefield. 

Whitsuntide... . 
Melcombe .... 
Lanesborough . . 
Dedication. . .. . 
Wellspring. . . • , 

Wareham 

Walsal 

Latrobe 



Gaj *s. 
Kingswood. 
Mature.; 
Bedford. 
Uffingham. 
Eastbourne. 
Rapture. 
U irks worth. 
Essex. 
Daniel. 
Rose Hill. 
Clark's. 
Martyrdom. 
Stonefield. 
Mount Calvary. 
liurrett. 
I Cedes. 
Ledbury. 
Condescensions 
Narcissus. 
Feversbam. 
I < wuheaC 
Josiah. 
Jesse. 

Chalsworth. 
Warsaw. 
J urtifi cation, 
Dalston. 
Repose. 
Charity. 
Deritend. 
Remembrance. 
Seville. 
Carey's. 
Josiah. 
Warsaw. 
Mear. 
Messiah. 
Wilton. 
PriBcott. 
Josiah. 
London. 
Oatlands. 
Admiration. 
Eaton . 
Tranquility. 
Gabriel. 
Eccles. 
Safety. 
Hebron. 
St. Mary'B. 
Praise* 



W 

002 
603 
064 
006 
600 
007 
008 
009 
070 
071 
072 
673 
074 
675 
070 
677 
G7& 
079 
660 
681 
682 
083 
6fe4 
Gb5 
066 
687 
6bS 
6b9 
690 
691 
092 
693 
094 
695 
096 
697 
608 
699 
7 00 
701 
702 
703 
704 
705 
706 
707 
708 
709 
710 
711 
712 
713 



First Lines. 



004 
B04 

065 
606 
007 
08 
60fe 
609 
610 
611 
612 
013 
014 
015 
610 
610 
617 
61b 
619 
619 
620 
B21 
6.2 
623 
624 
624 
62; 
020 
127 
028 

029 
630 
631 
631 
632 
633 
634 
034 
036 
636 
637 
637 
038 
639 
640 
640 
041 
641 
642 
043 
041 
615 



Regardless now of.. . 
O lor a closer walk.. 
Infinite Power .... 

Long have I sat 

Fathor, I stretch . . . 
By secret iLfluence . . 
Long have 1 waited. . 
The God of A bra-. ... 
Though nature's . . . 
Ilefore the great . . . 
Awake, our souls I. .. 
Commit thou all . . . 
Give to the winds. .. . 
Away, my needless. . 
Bless are the ho- . . 
V> ho in the Lord, • • 
God is the refuge. . • 
My Shepherd will . . . 
Happy tho heart . . . 
Vain, delusive world. 
O Jesus, (ufl of truth 
Author cf faith ap-i . 
Gcd of Daniel, bear. 
To God the only . . , 
In every time and. . 
O that now the. . . . 
Blessed are the pure, 
Jesu, my Gcd and... 
Earth rejoice, our. .. 
Come, thou Conqu-. . 
Father of boundless.. 
Head of thy Church. 
Eternal Lord of earth 
Let Sion in her King 
Arm of the Lord. . . 
Jesus shall reign. . . 
The heavens declare. 
From all that dwell. 
Lord of the harvest, . 
How beauteous are. . 
Salvation 1 O the. . . 
Saviour, whom our . . 
Jesu, thy wandering. 
The Law and P10-. .. 
Jesus, the word be-. . 
Saviour, we know.. .. 
Lord, if at thy com-. 
The Lord of earth... 
Let me alone ano-. . 
Eternal source of. . . 
Sing to the great. . . 
Wisdom ascribe.. . . 



Names of Suitable Tunes, 



6— 8's. 

C. M. 

C. M. 

C. M. 

C. M. 
4-8'b k 2-6's. 

S. M. 
P.M. CI. VI. 
P.M. CI. VI. 
P.M. CI. VI. 

L. M. 

S. M. 

S. M. 

S. M. 

L. M. 

S. M. 

L. M. 

C. M. 

C. M. 
7's k 6's. 

L. M. 

2-6'n k 4-7's. 

7's & 6*s. 

S. M. 

5. M. 
7's & 6's. 
7's ii 6's. 

2-6's k 4-7's 

4 — 7's. 
8's, 7's k 4's. 

6. M. 
L. M. 
6— 8's. 
L. M. 
6- 8's. 
L. M. 
L. M. 
L. M. 
S. H. 
S. M. 
C. M. 

7's & 6's. 

L. M. 

L. M. 

S. M. 
4-0's & 2-6's. 

S. M. 
4-6's k 2-8's. 

C. M. 

L. M. 

C. M. 

6— 6's. 



Castleton 

Mear 

Bedford 

Irish 

St. Ann's ....... 

Rochdale 

Watchman. . .. . . 

Beaumont.. • • • • , 

Beaumont 

Beaumont. 

Migdol ....... 

Sacrifice 

Falcon Street . . . 

Cambridge 

Wexford 

arah. ••••»•• 
Tranquility .... 

St. Pancras 

Spruce Street.. . . 
Preparation.. . . 
Old Hundred . . 

Dedication 

Preparation.. . .. 
Compassion. . . . 
Mansfield ...... 

Clark' 

Assjlum 

Irene 

Narcissus 

Hclstort ....... 

Watchman 

Newbavtn 

Pljmouth Dock .. 

Alfreton 

Luther's Hymn. .. 
Daventry •••••. 
Dresden ....... 

Nottaway 

.-'hirland ..... 
Christianity. . . . 

Araley 

Clark's 

Rockingham 

Angel's Song. . . . 
Falcon Street . . . 

St. Swithin 

Sandforlh 

iLutinan • • 

Walsal 

Dresden 

Lyoia. . ., 

Carey's. 



Charity 

Cbarmouth 

Attercliffe 

Mear 

St. Matthews. . . . 

New fcrreet, 

Sbirland 

Judea,. ........ 

Judea 

Judea 

Wilton 

Mount Ephraim. .. 
Bradley Church... 

Reuben 

WarriDgton 
Falcon Street . . . . 

Ward 

St. Stephen's . . . 
Lydia.. ....... 

Clark's 

Angel's Song 

Irene 

Josiah 

Eastbourre 

Bradley Church.. . 

City Road 

Dependance. . . . . 

Birmingham 

Alma 

Calvary 

Mount Ephraim. . 

Canada 

Madrid ...•••.. 

Birmingham 

Madrid 

New cattle 

Stooefield 1 

Wilton 

Sarah 

Matthias... .... , 

Sovereign Balm . . 
Kingswood ... 

Wareham 

Melcombe. ...... 

Cambridge 

Remembrance. . . 

Narenza . 

Watrrstock 

St. Mary's 

Haydn 

Sheldon 

Madrid ........ 



Terah. 
Oatlands. 
Oldham, 
Dundee. 
Charmouth. 
St. John's. 
Spilsby. 
Leoni. 
Leoni. 
Leonl. 
Atlantic. 
St. Bride's. 
Sbirland. 
?arah. 
Wakefield. 
Bethel. 
Hannathon. 
Rose Hill. 
Suffolk. 
City Road. 
Munich. 
Eccles. 
City Road. 
Gerar. 
Matthias, i 
Aniariah. 
Kingswood. 
Slateford. 
Sicilian Marirere. 
Helmsley. 
aynboe. 
Coronation. 
Carey's. 
Devotion. 
Eaton. 
Duke Street. 
Port Hope. 
Justification. 
Bethel. 
Sarah. 
Salvation. 
Josiah. 
Daniel. 
Wexford. 
Essex . 
Dunstable. 
Sacrifice. 
Lennox. 
Mear. 
Mamre. 
Rose Lane. 
I Terah, 



GENERAL INDEX TO THE HYMNS AND TUNES. 



714 
715 

710 
717 
718 
719 
720 
721 
722 
72S 
724 
735 
7-26 
727 
726 
729 
730 
T31 
732 
73S 
734 
735 
736 
737 
738 
729 
740 
741 



First Lines. 



God of my life, thro- 
Jesus, was ever love. 
Hear what the voice. 
Tremendous God. .. . 
[ call the world's. ... 
May not a creating. . 
Why do we mourn . . 
And ranst this body. 
Almighty Maker of. . 
flappy who in Jesus. 
Hosannab to God. ... 
Happy soul, thy. . .. 
I know that my|. . . . 
O when shall we. . • 
There is a land ot. .. 
Lift your heads, ye. . 
Give me the wings . . 
Where shall true . . . 
The saints who die. . 
How happy "very... 
And let this feeble . . 
Come, let us join. . . 
Groat God, thy wa-. . 
Thou, who hast in. . 
How pleasant, how.. 
Father of all, thy ... 
God of eternal truth 
How large the pro-. . 



Names of Suitable Tones. 



Daniel 

Siloam .. 

Revelation. . • c . .. . 

Old Hundred 

Cleft of the Rock. . 

Assylum 

Dundee 

Egypt 

Old Hundred 

Clark's 

Derbe 

Vienna. 

Dresden 

Arabia . 

West's 

Calvary 

St. Stephen's.. . . 

Preparation 

Angel's Song 

Coronation 

Gainsborough. — .. 
Mount Pleasant.. .. 

Old Hundred 

Dependance ...... 

Wilton 

Morning Hymn... . 

Charity 

Arlington 



Daventry. 

Carey's 

Dundee 

Wareham '. . 

Siloam 

City Road 

Revelation ...... 

Sarah 

Portugal 

Kings wood. 

Holton 

Romanza 

Melcombe 

Israel. . 

York 

Helston. ........ 

Oatlands 

City Road 

Wareham 

Hensbury ....;.. 

Walsal 

AttercliSe . 

Stonefield 

Josiali 

Loughborough 
Evening Hymn. . . 

Siloam 

Condescension. . . 



Duke Street. 

Zauberflote. 

Liverpool. 

Job. 

Brighton. 

Dependance. 

Walsal . 

Wirksworth. 

Federal Street. 

Josiah. 

Troas. 

Jesse. 

Adoration. 

Albion. 

Rose Lane. 

Church Street. 

Deri tend. 

Clark's. 

Rockingham. 

Rose Lane. 

St. Mary's. 

Oatlands. 

Job. 

Clark's. 

Sandbach. 

Tranquility. 

Desire. 

Wilts. 



First Lines, 



Lord of all, with. . . 
See Israel's gentle. .. 
The Saviour, when. . 
Father, live by all... 
Father of mercies. .. 
Jesus, thy servants. . 
O God t how often . . 
how shall a sin-. .. 
happy day that. . . 
The promise of my. . 
From Jesu's sacri- . . 
Let all who truly. .. . 
Prostrate, with eyes . 
Lord, thou hast bid. . 
Brethren in Christ. .. 
Awak«, my soul, and 
Glory to thee, my. ... 

thou that hang- .. . 
Canst thou reject. . . 
Lord cf the wide. . . 
Infinite God, thy. • • 
Lord, whom winds.. 
Lord of earth, and . . 
How are thy ser-... 
How many pas-. . . . 
Join all ye ransom'd. 
Out of the depth of. 

1 give immortal. . • . 



Metres. 



6-7*8. 

C. M. 
L. M 

4— 7's. 

C. M. 

S. M. 

6— 8's. 

8— t's. 

L. M. 

C. M. 
2-6*8 & 4-7*8. 

S. M. 
6—8*8. 2nd. 
4-8'a & 2-6'e. 

L. M. 

L. M. 

L. M. 

L. M. 

L. M. 

L. M. 

L. M. 

4— 7'B. 
7*8 b 6's. 

C. M. 

6—8*8. 

C. M. 

CM. 
1-6-e & 2-8*8. 



Names of Suitable Tunes. 



Wellspring. . . 
St. Stephen's 1. 

Job 

German Hymn , 

Irish 

Mansfield. . .;. 
Luther ...... 

Israel 

Dresden. ...... 

Bedford 

Irene 

Sarah 

Gay's 

Latrohe 

Rockingham . . 
Morning Hymn.... 

Evening Hymu. 
Old Hundred.. 
Munich.. .... 

Wareham .... 

Stonefield .... 

German Hymn. 
Kingswood. ... 

Hensbary 

Terah 

London 

Abridge 

Waterstock. . . , 



Venice 

Martyrdom .... 
Duke Street.. . . 
Narcissus. .... 

Bedford 

Aynhoe 

Carey's 

Arabia 

Hannatlion 

York 

Dedication 

Bethel 

NcwCoort. . . . 

Harwood... . .. . 

Dike Street. . .. 

Hannatlion 

Evening 

Munich. ...... 

Mamre ....••• 

Wilton 

Peru , . . 

Aaron ....... 

Amaziah. ... . . 

Arlington 

Adman , 

David's Harp . . . 
Rose Lane • • • • • 
Remembrance. .. 



Eglon. 

Warwick. 

Mamre. 

Savons. 

Liverpool, 

Bethel. 

Ledbury. 

Mansions. 

Atlantio. 

Trinity. 

Eccles. 

Cranbrook. 

Monmouth. 

Rochdale. 

Port Hope. 

Angel's Song. 

Warrington. 

Windham, 

Hamburg. 

Oldham. 

Justification. 

Prayer. 

City Road. 

Sheldon. 

Sirceon'i Joy. 

Carr'e Lane. 

St. Stephen'!. 

Warsaw. 



ran ' 



MUSICAL 



ins 2<'8 pa§